NEW  EDUCATIONAL 
'MUSIC  COURSE- 


(mm  AND  COMPANY  PUBLISHERS 


HEWITT'S 


Digitized  by  the  Internet  Archive 

in  2007  with  funding  from 

Microsoft  Corporation 


http://www.archive.org/details/firstmusicreaderOOmclarich 


THE       NEW       EDUCATIONAL       MUSIC       COURSE 


FIRST  MUSIC  READER 


BY 

JAMES  M.  McLaughlin  george  a.  veazie 

Director  of  Music,  Boston  Public  Schools  Rkcbntly  Supervisor  of  Music,  Chelsea  Public  Schools 

Author  of  "Elements  and  Composer  of  School  Songs 

Notation  OF  Music"  and  Choruses 

AND 

W.W.  GILCHRIST 

Vocal  Teacher  and  Conductor,  Composer  of  "  Songs  for  Children" 
Art  Songs,  Cantatas,  Orchestral  Works 


GINN  &  COMPANY 

BOSTON  .  NEW  YORK  •  CHICAGO  •  LONDON 


AIT  13^ 


EDUCATION  DEFT 

Copyright,  1903,  1906 
By  GINN  &  COMPANY 


ALL   RIGHTS   RESERVED 


•  ci»     -•« 


<»-.-  »      w 


GINN  &  COMPANY  .  PRO- 
PRIETORS .  BOSTON  •  U.S.A. 


INTRODUCTION 

The  First  Reader  of  the  New  Educational  Music  Course  is  the  first  music 
book  to  be  placed  in  the  hands  of  the  pupil,  and  forms  an  integral  part  of  a 
course  for  adequate  musical  instruction  in  the  public  schools.  In  order  that 
the  purpose  of  the  book  may  be  thoroughly  understood,  a  brief,  comprehensive 
view  of  the  entire  Course  is  necessary. 

The  Aim  of  the  New  Educational  Music  Course 

The  aim  of  this  Course  is  to  develop  in  the  pupil  an  intelligent  appreciation 
and  enjoyment  of  good  music,  a  musical  and  expressive  voice,  the  ability  to 
read  music  at  sight,  and  the  power  of  musical  interpretation. 

To  inspire  love  of  good  music.  To  appreciate  the  power  and  beauty  of 
music,  the  pupil  must  become  familiar  with  well-written  music  of  various  kinds 
in  selections  that  shall  be  interesting  from  his  own  point  of  view  as  well  as 
admirable  from  that  of  the  critical  musician.  By  familiar  association  with  such 
music  and  wisely  directed  study  of  it  the  pupil's  taste  is  cultivated  and  a  love 
of  good  music  is  fostered.  With  this  in  view  the  Course  provides  a  great 
variety  of  selections  culled  from  the  best  available  sources. 

To  develop  a  musical  voice.  The  proper  treatment  of  the  child  voice  is  of 
great  importance  and  has  received  the  utmost  attention  in  these  books.  No 
elaborate  scheme  of  voice  culture  is  desirable  or  practicable  in  the  elementary 
schools ;  but,  beginning  with  the  cultivation  of  the  head-tone  quality  of  the 
child  voice  through  the  descending  scale,  the  few  simple  vital  principles 'which 
induce  breath  control,  proper  tone  direction,  voice  quality,  and  enunciation  are 
presented  in  specific  voice  drills  and  underlie  the  material  of  the  entire  Course. 

In  each  grade  all  selections  are  so  placed  in  pitch  and  range  as  to  conserve 
and  foster  the  pupil's  voice  at  that  stage  of  his  development.  The  aim  is  to  estab- 
lish early  so  thoroughly  a  correct  use  of  the  voice  that  the  vocal  poise  is  not 
lost  when  the  attention  is  given  to  the  intellectual  demands  of  sight  singing. 

To  teach  sight  singing.  Sight  singing  is  the  process  of  determining  by 
an  act  of  reasoning  the  meaning  of  signs  in  musical  notation,  and  singing 

iii 

M193171 


iv  INTRODUCTION 

accordingly.  When  rightly  taught,  it  furnishes  the  very  essence  of  intellectual 
training  and  deserves  to  rank  with  any  other  disciplinary  study. 

In  sight  singing,  deductions  are  made  conjointly  in  time  and  tune.  Various 
intervals  in  melodic  order,  the  beat,  accent,  tones  of  different  duration,  meas- 
ure, rhythm,  intermediate  tones,  and  the  minor  mode  —  in  a  word,  all  musical 
effects  —  should  be  experienced  before  they  are  represented. 

An  abundance  of  attractive  sight-singing  material  is  given  for  reading. 
New  problems  are  presented  one  at  a  time,  always  carefully  graded  in  diffi- 
culty, and  thus  logical  mental  progress  is  assured. 

It  must  be  borne  in  mind  that  valuable  as  sight  singing  is  as  a  disciplinary 
study,  it  is,  nevertheless,  only  a  means  to  the  use  of  music  as  a  cultural  study, 
and  to  that  awakening  of  the  aesthetic  faculties  which  is  manifested  in  musical 
interpretation. 

To  induce  musical  interpretation.  Musical  interpretation  is  the  discovery 
and  expression  of  the  significance  and  beauty  of  musical  ideas,  and  it  therefore 
demands  the  use  of  material  in  which  there  are  beauty  and  meaning  to  be 
expressed.  This  indispensable  condition  has  been  abundantly  satisfied  in  the 
character  of  the  music  selected  for  this  Course.  Furthermore,  aids  to  inter- 
pretation are  provided  not  only  in  the  marks  of  expression  —  dynamic  and 
tempo  signs,  phrase  and  breath  marks  —  but  also  in  the  great  care  with  which 
the  relation  of  words  and  music  has  been  considered. 

The  character  of  the  poem  is  always  a  key  to  the  spirit  of  the  music,  and  a 
thoughtful  study  of  the  verse  as  to  accent,  rhyme,  phrasing,  and  the  develop- 
ment of  climax  will  reveal  the  rhythmical  form  and  melodic  structure  of  the 
music.  The  poems  have  been  selected  with  quite  as  much  care  as  the  music, 
to. make  sure  of  intrinsic  worth,  interest,  and  beauty  from  the  pupil's  stand- 
point as  well  as  from  the  literary  point  of  view.  In  all  cases  a  right  and 
beautiful  interpretation  of  the  spirit  and  content  of  the  words  helps  to  the 
understanding  and  expression  of  the  music. 

The  Material  of  the  Course 

A  distinguishing  feature.  A  distinguishing  feature  of  the  material  through- 
out the  Course  is  that  each  number  illustrates  some  well-known  characteristic 
of  music,  racial  or  individual,  and  contains  that  vital  quality  called  musical 
contenty  which  appeals  to  the  inexperienced  learner  as  well  as  to  the  trained 
musician. 


INTRODUCTION  v 

Basis  of  choice.  Aside  from  the  elements  in  notation  of  music,  which  are 
noted  as  they  occur  in  the  Course,  there  has  been  in  the  choice  of  material 
a  constant  recognition  of  the  ideal  development  of  the  pupil.  This  includes 
the  physical  development  resulting  from  deep  breathing,  the  intellectual  devel- 
opment involved  in  a  systematic  study  of  the  subject,  and  the  subtle  develop- 
ment of  character  which  comes  from  familiarity  with  good  music. 

From  the  masters.  Music  from  the  masters  ranging  in  variety  from  the 
simple  folk  song  to  the  melodies  of  the  greatest  composers  of  all  nationalities 
appears  in  the  New  Educational  Music  Course. 

The  fields  of  music,  vocal  and  instrumental,  —  German,  French,  Italian,  Rus- 
sian, English,  American,  —  from  the  one-period  song  to  cantata,  opera,  oratorio, 
sonata,  and  symphony,  all  have  been  thoroughly  investigated  and  careful 
selection  has  been  made  from  each. 

Original  settings.  In  addition,  many  "poems  every  child  should  know" 
have  been  set  to  original  music  by  some  of  the  best  living  composers,  so 
that  the  Course  contains  much  valuable  material  which  is  peculiar  to  itself. 
These  original  settings  have  been  chosen  from  a  large  number  of  contribu- 
tions, the  selection  having  been  made,  as  were  many  of  those  from  existent 
material,  by  a  committee  of  musicians  who  were  not  aware  of  the  composer's 
identity. 

Range  and  character.  The  song  subjects  cover  the  different  moods  and 
experiences  of  children  and  youth,  —  the  opening  and  closing  of  school,  work, 
games,  animals,  seasons,  stories,  lullabies,  ethics,  patriotism,  the  different 
aspects  of  nature,  etc. 

There  is  variety  also  in  character,  the  selections  including  those  which  are 
joyous,  merry,  emotional,  plaintive,  humorous,  and  serious,  representing  vocal 
and  instrumental  forms  of  all  kinds. 

Part  songs.  Counterpoint  instead  of  parallel  harmony  prevails  to  a  great 
extent  in  all  the  part  music,  and  variety  of  arrangement  is  secured  by  frequent 
use  of  the  melodic  theme  in  the  lower  voices,  by  rhythmical  voice  accompani- 
ments, and  by  humming  accompaniments. 

Arrangements.  Vocal  arrangements  from  the  classics  reflect  the  spirit  of  the 
original  melodically  and  harmonically.  These  are  the  work  of  musicians  recog- 
nized as  exponents  of  the  masters  whose  compositions  they  have  arranged. 


vi  INTRODUCTION 

The  Plan  of  the  Course 

In  planning  the  New  Educational  Music  Course  the  editors  have  kept  con- 
stantly in  mind  the  fourfold  object  of  the  course  and  the  results  which  may 
reasonably  be  expected  in  the  average  public  school  environment. 

Arrangement  of  the  material,  an  outline  for  study.  The  books  are  adapted 
for  study,  page  after  page,  as  arranged  in  the  successive  readers.  Where 
teachers  find  it  advisable  or  desirable  to  vary  the  order  of  presentation,  to 
give  special  attention  to  one  problem  rather  than  another,  or  to  carry  several 
lines  of  study  simultaneously,  the  grouping  of  the  material  makes  such  adjust- 
ment an  easy  matter.    In  this  case  the  index  serves  as  a  guide. 

Suggestive  headings.  As  a  further  help  to  the  grade  teacher  chapter  head- 
ings and  marginal  notes  make  clear  the  special  rhythmic  and  melodic  problems 
in  process  of  development.  The  marginal  notes  accompany  only  the  melodies 
which  contain  the  first  representation  of  the  problem  named,  except  in  Part  I 
of  the  First  Reader,  where  marginal  notes  are  duplicated  in  each  of  the  nine 
common  keys. 

The  glossary,  a  helpful  guide.  Each  reader  of  the  course  contains  a 
glossary,  representing  and  defining  all  musical  signs  and  terms  appearing  in 
that  reader.  It  is  an  authority  upon  which  teacher  and  pupil  may  depend.  At 
the  same  time  it  summarizes  for  the  teacher  the  technical  work  which  study  of 
the  reader  develops.  The  glossaries  of  the  successive  books  contain  such 
analysis  as  may  logically  be  presented  in  connection  with  the  books. 

The  First  Music  Reader 

It  is  assumed  that  before  the  pupil  begins  his  study  of  the  First  Music 
Reader  he  has  had  experience  in  rote  singing,  in  the  musical  use  of  the  voice, 
in  the  simple  rudiments  of  time  and  tune,  and  in  easy  sight  singing. 

The  First  Music  Reader  provides  study  for  the  third  and  fourth  grades. 

Part  I  is  equally  divided  among  the  nine  common  keys,  —  C,  G,  F,  D,  B-flat, 
A,  E-flat,  E,  and  A-flat.  Each  key  begins  with  the  same  degree  of  simplicity 
and  progresses  with  the  same  degree  of  difiiculty.  Part  I  employs  but  one 
sound  to  the  beat  in  two-quarter,  four-quarter,  three-quarter,  three-eighth,  and 
six-eighth  measure,  similarly  apportioned  in  the  nine  common  keys. 

Part  II  introduces  the  rhythmic  type  J^  and  develops  the  rhythmic 
figure  J___J^- 


INTRODUCTION  vii 

Part  III  presents  Sharp-four  (^4)  and  Flat-seven  (b  7)  in  the  melodic  pro- 
gressions, 5,  j:j:4,  5  and  6,  b  7,  6,  and  Rounds. 

Part  IV  develops  Two-part  Song. 

The  songs,  selected  from  the  best  possible  sources,  are  pure,  simple,  com- 
plete, and  attractive.  Preceding  each  song  are  melodies  to  illustrate  every 
difficulty  appearing  in  the  song,  approached  in  such  a  way  as  to  be  easily  com- 
prehended by  the  pupil.  Not  only  were  these  preparatory  melodies  selected 
with  the  view  of  making  clear  the  difficulties  contained  in  the  songs,  but  they 
were  also  required  to  pass  the  strictest  tests  as  to  their  own  inherent  value. 
They  have  been  approved  by  the  best  melodic  experts,  who  were  purposely 
kept  in  ignorance  of  the  educational  nature  of  their  use.  That  the  pupil  may 
more  easily  grasp  its  meaning,  each  melody  is  carefully  phrased,  and  breath 
marks  appear  in  each  song. 

Suggestions 

Ear  training.  Recognition  of  musical  effects  through  the  sense  of  hearing, 
and  reproduction  of  the  same  by  the  pupil,  are  the  first  steps  in  musical 
training. 

Melodic  drill.    Melodic  intervals  (aside  from  stepwise  progressions)  as  used 
by  the  masters  of  song  fall  naturally  into  three  groups. 
Very  frequent  intervals : 

1-3;  3-5;  5-8;  1-8;  5-3;  7-2;  2-5;  5-2;  5-7;  3-8. 

Frequent  intervals : 

1-5;  3-6;  5-7;  2-4;  4-7;  5-4;  4-6;  6-8;  1-4;  5-5- 
Infrequent  intervals : 

8-4;  2-8;  1-6;  3-7;  1-7;  5-6;  4-6;  4-7;  2-6;  2-6;  e-J',  3-6; 
3-7;  2-7. 
Rhythmic  drill.   There  are  eight  familiar  rhythmic  types,  which  may  be 
represented  as  follows : 

When  J  =  the  beat  unit 

J  n  /77^  /i^  .Fn  JTI  jn  J  :" 

3  3 

Combination  of  these  rhythmic  types  into  varying  rhythmic  figures  proceeds 
slowly,  only  the  simplest  types  appearing  in  early  melodies. 

Eye  training.  Mental  appreciation  of  the  tones  represented  by  notes,  from 
a  glimpse  at  their  staff  position  in  relation  to  the  keynote,  grasp  of  the  melody 


viii  INTRODUCTION 

of  an  entire  phrase,  ability  to  visualize  after  a  brief  glance  at  the  printed 
page, — these  cultivate  keenness  of  vision  as  well  as  true  musical  understanding. 

Exchange  of  parts.  In  early  part  singing,  frequent  exchange  of  parts  is 
desirable,  pupils  assigned  to  sing  the  upper  part  in  one  song  taking  the  lower 
in  another. 

Written  work.  Written  work  embodying  representation  of  such  musical 
effects  as  underlie  the  work  of  the  year,  sung  or  dictated  by  the  teacher  for 
reproduction  by  the  pupil,  is  valuable  for  all  grades.  Individual  progress  is  thus 
measured,  and  habits  of  careful  discrimination  and  observation  are  inculcated. 

Song  repertoire.  No  feature  of  music  study  will  give  greater  pleasure  and 
profit  than  committing  to  memory  and  singing  without  books  many  of  the 
songs  of  the  readers,  aiming  always  at  ideal  interpretation. 

Such  songs  may  constitute  the  "song  repertoire,"  and  with  attention  to 
grouping  will  provide  musical  programs  of  the  highest  character.  The  order 
of  movements  typical  of  the  symphony  —  allegro,  andante,  scherzo,  rondo  — 
suggests  the  following  as  an  artistic  song  program. 

Con  spirito^  quick,  cheerful :  New  Year's  Days,  No.  96.  . 
Lento,  slow,  graceful:  Lullaby,  No.  128. 
Animato,  humorous,  playful:  The  Telephone,  No.  197. 
Allegro,  gay,  lively:  The  Merry  Skaters,  No.  159. 

For  correlation  of  song  subjects  the  following  is  typical : 

Evensong,  No.  418. 

All  Through  the  Night,  No.  315. 

The  Little  Dustman,  No.  314. 

Acknowledgment  is  due  to  Messrs.  Houghton,  Mifflin  &  Co.,  publishers, 
for  permission  to  use  poems  from  the  following  books  :  "  Little  Folk  Lyrics  " 
by  Frank  Dempster  Sherman,  "A  Pocketful  of  Posies"  by  Abbie  Farwell 
Brown,  and  Lowell's  Works  ;  to  Messrs.  Small,  Maynard  &  Co.,  for  the  use  of 
words  from  "Child  Verse"  by  John  B.  Tabb,  and  "The  Round  Rabbit"  by 
Agnes  Lee ;  to  S.  E.  Cassino  for  the  use  of  "  Reasoning  Together,"  "  My 
Valentine,""  The  Icicle  Lesson,"  and  "A  Girl's  Wish,"  from  Little  Folks  ; 
and  to  the  Educational  Publishing  Company  for  "Autumn  Winds,"  "I  have 
a  Message,"  and  "  Pussy  Willow,"  from  Primary  Education. 

Thanks  are  due  to  Mr.  Frank  Dempster  Sherman  for  permission  to  adapt 
the  words  of  certain  poems  to  the  demands  of  the  melodic  settings. 


TABLE    OF  CONTENTS 


PART   I 

Rhythmic  Type,  One  Sound  to  the   Beat,  in 
Various  Keys  and  Kinds  of  Measure. 

CHAPTER  pages 

I.  KeyofC.      J,  J.  J.  h  ^^^t »"  5 

IL  Key  of  G.      J  .  J  ,  J  .  I  •  *"^  8 ^'° 

III.  KeyofF.      J  .  J  .  J  .  I  '  ^'^'^  8 ""'S 

IV.  Key  of  D.      J  .  J  .  J  »  g  •  ^"'^  8 '^^° 

V.  Key  of  Bb.    J  ,  J  ,  3  ,  I  ^  and  1 21-25 

VI.  Key  of  A.      J  .  J  »  J  .  |  ,  and  | ^6-30 

VII.  KeyofEb.    J  ,  J  .  J  .  g  «  *°^  8 ^^'^S 

Vni.  Key  of  E.      *  .  J  ,  J  ,  |  .  and  | 36-40 

IX.  KeyofAb.    ^  .  J  ,   J  .  §  ,  and  | 41-4S 


PART  II 

Rhythmic  Type,  Two  Eighth-Notes  to  the 
Beat  ;  Rhythmic  Figure,  Dotted  Quarter- 
Note  Followed  by  the  Eighth-Note. 


chapter 

pages 

I.    The  Rhythmic                .    2      4 
Figure       H  J^       '°  4  '  -( 

,  and  ^  . 

..46-49 

II.    The  Rhythmic            )  .     2      a 

,  and  ^. 

..50-53 

III.    The  Rhythmic                 .     ,       , 
Fig-e_^n_J       i-4'. 

■  ,  and  ^ . 

..54-57 

IV.    The  Rhythmic             )  .     2      . 
Figure  _J J:  r%  •  . 

,  and  J . 

..58-63 

PART   III 

The  Intermediate  Tones,  Sharp-Four  and  Flat- 
Seven  IN  Their  Simplest  Progressions. 
5,  $4,  s  AND  6,  b7,  6,  IN  the  Nine  Keys  and  thb 
Five  Kinds  of  Time 

chapter                                                                   pagms 
L     Key  of  C 64-66 

II.  Key  of  G 67-69 

III.     Key  of  F 70-72 

IV.     Key  of  D 73-75 

V.     Key  of  Bb 76-78 

VI.  Key  of  A 79-81 

VII.     Key  of  Eb 82-84 

VIII.     Key  of  E 85-87 

IX.     KeyofAb 88-90 

Rounds '. . . .  .91-^ 

PART  IV 

Two-part  Song  in  the  Nine  Keys 

chapter  pages 

I.     KeyofC 94,    95 

II.     Key  of  G 96,   97 

III.  Key  of  F 98,   99 

IV.  Key  of  D 100,  loi 

V.     Key  of  Bb 102,  103 

VI.     Key  of  A 104, 105 

VII.  Keyof  Eb 106,107 

VIII.     Keyof  E 108,109 

IX.     Keyof  Ab no,  in 

Patriotic  Songs xi* 

Glossary 117 

Terms  and  Signs  of  Expression 120 

Index  to  Glossary 121 

Index  to  Songs 123 


PART  I 


RHYTHMIC  TYPE,  ONE  SOUND  TO  THE  BEAT,  IN   VARIOUS   KEYS 
AND   KINDS  OF  MEASURE 


Chapter  I  —  Key  of  C 


i 


i=^,^^r.^^^^ 


w 


(g  ^^  <g  ^ 


-'5'-Z7 


■i9-' 


-i&-  -&- 


P^^ 


^ — ^~m 


g^Epg 


i 


^^ 


^-^ 


-d ^ 


=1: 


^ — 1^ 


S 


Clear  the  school  bell  calls  to  -  day,     "Come,  O  cornel"  it  seems  to    say. 


^^^E^=^=^Eg^^^^^ 


Two- 
quarter 
measure. 
Phrase 
mark. 
Tie 


Intervals 
5-3 

^      7-5 


5-8 


m 


Jane  Taylor 
Allegretto 


THE  VILLAGE  GREEN 

9 


German  Folk  Tune 


Breath 
mark 


^ 


^3 


# — ■# 


1.  On    the  cheer-ful     vil  -  lage  green.  Skirt- ed  round  with  hous-es  small, 

2.  See  them   frol-ic    hand    in    hand,    Mak-ingnow     a     mer- ry  chain; 


i^^-fei.^ife=E^^B^^^ 


All    the    boys  and  girls    are  seen,    Play  -  ing  there  with  hoop  and   ball. 
Now  they    form    a     war  -  like  band.  Marching    o'er  the  grass  -  y    plain. 


m 


LEAVES  AT  PLAY 

Frank  Dempster  Sherman 
Allegro 


M.  White 


^=1: 


^^ 


1.  Scam -per,  lit  -  tie  leaves,  a  -  bout.       In    the  cheer -y    Au-tumn  sun; 

2.  By     and   by     to     rest  you'll  go,      Wea-ry      of  your  mer -ry  play; 


i-^ 


^^M=J-^=^ 


I      can    hear  the    old  wind  shout,  Laugh-ing,  laugh-ing     as    you   run. 
Still   the   same  old  wind  will  blow,  Laugh-ing     in     the  same  old  way. 


•    «     »       «     S      «> 

Four- 

quarter 

a... .    ^  .            i       .    ,          .    ^      .    .-^                      ^     „ 

measure.  7 
Interval    ' 

-7<-4-^ ^ ^ 1— 

0                  1 

-i 1 1 r- 

~i — ^ 1 

4 

^  ^           r       •      ^ 

r     ^ 

J      J 

A     -  \         1 

>>  4-                                * 

^     ^ 

■^ '    s 

*      J 

2-5 

Intervals 

u- 

r       '        i                        1                 ^                         »       # 

^v. 

r\          ^                                             ^                      ^ 

/      vi 

1 

7  2      8 

/[    ^    1* 

r       ,•       ^       r 

/^r3         ^ 

, 

1         ^ 

Im  /I     1 

r     r 

I             "^       J 

J 

^ 

2-4 

Lm4_i — 1 

U_^ p — b^ 

LI -^-J 

a — J — J— -^ 

LJ — -U 

^ 


John  B.  Tabb 
Moderato 


THE  CHILD'S  STAR 


R.  L.  Brett 


^^i 


3^^^3^ 


^ 


i 


1.  The  starthat watched a-bove  your  sleep  Has  just  put  out   his  light/'Good 

2.  "But  tell  the  child  when  he     a-wakes,Towatchfor   my    re -turn,     For 

9 


^^ 


^ 


day,   to     you     on  earth," he  said,  **  Is    here   in  heav'n, good  night." 
I'll  hang  out     my  lamp   a  -  gain,When  his     be  -  gins     to     burn." 


Intervals 
8-3       10 
4-6 


?S 


S 


3; 


^ 


W-=^- 


The  slur. 
Interval    1 1 

6-2 


pi-^-i'-r^^^^^^F^^^'riJj^s 


i 


Allegretto 


SWALLOWS 


W.  E.  Appleton 


m. 


12 


-1-^ 


1.  Swal-lows,  tell   me  where  you  go      When  the  fields  are  white  with  snow ; 

2.  Are  there  shin- ing  drifts  of  snow       In   that  clime  to  which  you  go? 


:1==:1: 


^ 


^ 


Had  I   wings  I'd     fly   with  you,        All  the  pleas-ant  countries  through. 
Tell  me,  swallows,where  you  rove     From  this  land    I     dear-  ly   love. 


^^^^^^^E^^^^^^m 


IntenraU 
13        2-5 
8-3 


|t=Ffr=^? 


--w=^ 


Interval 


14  "*^8 


TELL  ME,  PRETTY  RIVER 


Samuel  G.  Goodrich 
Andantino 


N.  S.  Chase 


fc^^^^--j^4^-^zg3^^^^4=d=y 


15 


1 .  O      tell    me,  pret  -  ty    riv  -  er,  Whence  do  your  wa  -  ters    flow  ?     And 

2.  "My  birth-place  was  the  mountain,     My  nurse  the   A  -  pril  show'rs.    My 


i 


e^ 


whith  -  er      are     you  roam  -  ing.        So     pen  -  sive     and     so      slow  ? 
era  -die     was      a     foun  -  tain.     O'er  -  cur  -  tained  by   wild   flow'rs." 


^  ^    ^ — ^ 1 \ r-^i — 1 \ \ ^- 

.^;4^^^d^rd=^-^-:^-Ji----^ 

Three- 
10  quarter 


17 


LOOKING  FOR  THE  FAIRIES 


fe 


Anonymous 
A  ilegretto 


F.  F.  RucEY 


t 


i 


18 


at 


^ 


^_^ 


1.  I  peep'd  in   ma-ny   a     blue  -  bell, And  crept  a  -  mongthe    flow'rs.    And 

2.  I  shook  the  shy  daf-fo  -  dil  -  lies.  And  search'd  the  gardens  round,      In 


i 


3 


s-:^=e 


-^ 


hunt  -  ed    in      the    a  -  corn  cups.  And  in      the   woodland  bow'rs, 
look  -  ing  for    the  lit  -  tie   folks,    I      nev  -  er,   nev  -  er    found. 


19 


iMJ=^^^^^^^=^^^r^  r  r  ir "  il 


THE  DREAM  FAIRY 


m 


Thomas  Hood 
Moderato 


K.  Lambert 


^ 


i 


20 


^ 


w 


1.  A       lit 

2.  She     has 

3.  And   then 


m 


tie      fair    -   y      comes     at  night,  Her  eyes  are 

a        lit    -    tie       sil   -    ver  wand,  And  when        a 

it    dreams    of      pleas  -  ant  things,  Of  foun    -  tains 

9 


sz: 


blue,  her 

good  child 

filled  with 

9 


hair      is  brown.  With    sil  -  ver   spots      up  -   on        her 
goes      to      bed,    She  waves  her  wand     from    right      to 
fai   -   ry     fish.    And  trees  that   bear       de    -    li   -   cious 


It 


^ 


w^. 


wings. 

And 

from 

the 

moon 

she 

flut    - 

ters 

down. 

left, 

And 

makes 

a 

cir 

cle 

round 

its 

head. 

fruit. 

And 

bow 

their 

branch 

-   es 

at 

a 

wish. 

Three- 
eighth 


21 


measure  I  ^l)  8   2 


S^i^^^E^^ 


^^E£ 


^MS 


^:rK 


S   ^   S 


^ 


22 


P?^J.   U    ^   ^'l-Jr-IJ.   I  J.   IJ'-T^P 


i 


Mary  Vaughan 
Allegro  moderato 


DING,  DONG 


L.  Edwards 
9 


23 


^^- 


^■=3*^ 


W^ 


-#-!- 


1 .  Ding,  dong,  ding,  dong.  This  is    the  song  I    am  sing  -  ing ;   Ev  -  er 

2.  Ding,  dong,  ding,  dong.  High  in    the  tow'r  I    am  swing -ing;    Ev  -  'ry 


i 


^. 


^ 


^EE^a 


mer  -  ri  -  ly,     ev  -  er  cheer  -  i  -  ly.  Morn  and  night  I     am  ring   -  ing. 
morn -ing    as    day      is  dawn -ing,    I    greet  the  sun  with  my  ring   -  ing. 


fej^^=gg^g=^g^=Jt:^=Jdj;F^ 


Six- 
eighth 
24  measure. 
Interval 
8-1 


S^^^^^iSi^^i^^^ 


Intervals 
25      1-5 
6-1 


^^^^^^^^^^^^^^^^^^ 


26 


CRADLE  SONG 


m 


Adapted  from  the  translation  of 
Elizabeth  Prentiss 
Andante 


1.  Sleep, 

2.  Sleep, 


^- 


ba  - 
ba  - 


by, 
by, 


sleep, , 
sleep, 


^ 


J.  M.  McLaughlin 


^^ 


B: 


S^ 


^^ 


.  Thy   fa   -  ther  guards  the 
.  The  large  stars  are      the 


sheep ; 
sheep. 


Thy 
The 


^^i 


C=B: 


Idr 


moth-er    is  shak-ing  the    dreamland  tree,  And  down  comes  a  beau-ti  -  f  ul 
wee  lit  -  tie  stars  are  the    lambs  I  guess,  The  beau-ti  -  ful  moon  is    the 


^ 


-=i-^ 


dream  for  thee  ;  Sleep,  ba   -  by,    sleep, 
shep-herd-ess ;    Sleep,  ba   -  by,    sleep, 


Sleep,  ba 
Sleep,  ba 


¥33^ 


by, 
by, 


sleep, 
sleep. 


i 


Kathleen  Kirchhoffer 
Allegretto 


A   GIRL'S  WISH 


James  Stanley 
9 


:4=^ 


:± 


^^ 


^ 


-&^^ 


^ 


27 


28 


1.  Be -side  the  door   a   ma -pie  tree  Stands  up  for    all  the  world  to    see,  And 

2.  I've  stood  and  stood  be-side  the  door  Quite  mo-tion  -less  an  hour  or  more  ;But 

3.  The  ma- pie  does  not  seem  to  care  How  ma  -  ny  birds  are  sing-ing  there ;  But 


* 


^ 


^ 


through  the  branches    all     a  -  bout  The  birds  are   hop-ping     in    and    out. 
not     a      but  -  ter  -  fly    or    bird  Came  near  me,though  I      nev  -  er  stirred. 
oh  I  how  hap  -py      I  should  be     If  they  would  light  and  sing   on     me. 


Chapter   II 


KEY  OF   G 


$ 


^^^g^^ 


29 


-gr-«g- 


g?   ^   g? 


Phrase     ^ 
mark     3^ 


fe=j^^=jq^^=f"r^tr-r-[fTg^8^=a 


Breath 
mark     3' 


i 


* 


w 


^— ^ 


5 


5E2 


:^ 


-w     w 


1 


1.  Swing-ing,swing-ing   to  and   fro,       High  up     in    the    air      I      go. 

2.  May  be     I    shall  go    so  high,      Someday    I  shall  touch  the  sky. 


Interrals 
3-1 
7-2 
5-2 


1 ^»-^ 1 1 F 1 ■ > 1 ' ■ 1 ' 1 ^— > ^ ' 1 ■ > ™ 

32 

X^2    j — J- 

p=^ 

=i-^ 

:^=g= 

=^ 

=t= 

R=^ 

B=i^ 

1  ^^  '^ 1 

# 

L#    .J_J 

LJ 1 

€&               1 

Intervals 


2-4      33 
5-3 


W^TT^rTf'-Mr'^r=^^r^  i  ^"^ 


Slur. 

Intervals 
2-5 

5-1 


^ 


»^3=E^ 


fEM 


^    '  ^ 


^ 


^zzat 


AUTUMN 


35 


Alexander  Smart.    Adapted 
11   Moderato 


^=e 


^: 


t 


^ 


^ 


^ 


^^ 


1.  Spring  and  sum  -  mer  glide    a  -  way,  Au-tumn  comes  with  tress-es  gray; 

2.  Still  we  dance  and   still  we     sing;  Au-tumn  days  their  treasures  bring; 

_  9 


t 


i^-d-d=y 


^ 


Fad  -  ed  leaves  and  meadows   sere    Tell     us    win  -  ter  days    are  near. 
We  fear   not   cold  win  -  ter's  sting,  And   be  -  hind  him  fol  -  lows  spring. 


i 


ii3 


■^^ 


:^ 


J36 


Intervals 
7-3 
7-4 


i 


P=^ 


^f- 


^^ 


1^=-V-W 


^ 


Intervals 
37       2-6 
4-6 


Andante 


EVENING 

9 


A.  Harder 


d: 


38 


-^^ 


5=*: 


^ «> 


1.  Now    the    sun     is    sink  -  ing        In      the   gold-  en        west; 

2.  And    the   mer  -  ry  stream  -  let,        As       it      runs     a    -    long,  .     . 

9 


t 


^^^^EE^_ 


Birds   and  bees  and      chil    -    dren  .  .  All  have  gone  to     rest. 
With     a     voice    of       sweet  -   ness  .  .  Sings  its    eve  -  ning  song. 


i 


* 


P^53ZP=^J=p^ 


^ 


^^=^ 


^ 


I 


i 


From  "Well  Spring" 
Allegretto 


THE   SQUIRREL 


i 


P3 


i 


3 


i 


# — ^ 


0 — ^ 


39 


Hold. 
Intervals 

5-5 

5-3 


i^l^Si 


The 
repeat. 
First  and 
second 
4^0  endings. 
^"  Intervals 
1-6 
5-1 
7-5 


41 


1 .  The  squir-rel  has-tens   to   and  fro  With  wal-nuts  and  with  corn  ; 

2.  The  hap-py  har-vest  time  he  knows  Will  ver -y  soon  be    past; 

9 


His 
So 


1.1'  I  I   r  J  I'^^Bi 


b 


store    to      fill     ere  comes  the  snow  And    au-tumn  fields  are    shorn. 
gai  -  ly      at     his    work   he  goes, —  Cold  win-ter's  com  -  ing  fast  . 


THANKSGIVING  SONG 


Mary  Vaughan 
Moderate 


Mrs.  H.  H.  A.  Beach 


42 


i 


1.  The      ap  -  pies    have  been    gath  -   ered    and    piled    in       rud  -  dy 

2.  Thanks-giv  -  ing     day     is       com    -    ing,    the     glad  Thanksgiv  -  ing 

i: 


t 


--^ 


^ 


-^ ^ 


i 


heaps,     And  down    a  -  mong  the  grass  -  es      the   pur  -  pie     as  -  ter 
day  1      We    count  the  nights  and  morn  -  ings  that  slow  -  ly    pass     a 


g 


t 


t- 


W 


g 


sleeps.  We've  brought  the  gloss -y        chest  -  nuts  from   hill-sides  far     and 
way.    We'll    have    a     mer  -  ry       frol   -     ic,   when    it      at     last     is 

i: 


i 


r-^  ^  0 


^- 


near,    And    soon  it    will   be      com  -  ing,  the    glad  day  of    the    year  1 
here,  When  har-vests  all    are    gath  -  ered,and   win  -  ter  days  are    near. 


g 


Tie  43 


i*==^ 


fe^ 


0 — ^    #    J--&- 


Interval 


■5-7    44 


m 


r>      f^^Z^2. 


PB 


fc^ 


^—    gy         -^ & 


^_LcJ. 


Interval 
6-2 


45 


m»=f=j^^^^^^^^^^¥^^^^^ii^ss^ 


^m^ 


46 


A 


-^ 


22 


^ 


i 


k 


i^ 


-^ 


^ 


i 


-#-^#- 


t^ 


g  47  troT'" 


THE  TOY  BALLOON 


Agnes  Lee 
CV?«  grazia 


Frederic  Field  Bullard 


3 


g^ 


A 


48 


^ 


^^^^ 


:^^ 


1.  With   my     bal-loon      I 

2.  High   up      it    sailed,   so 

3.  I    knew    it  touched  the 


ran      at    play,  And   loved    the    dear  -  ie 
ver    -  y     high  I    I      cried      as     ne'er      be  - 
cur  -  tain   thin  That  hides     the    stars     and 


W- 


so.  But  from  out  my 
fore,  Till  I  lost  its 
moon.      And  that    an  -  gel 


hand  it  slipped  a  -  way.  And  I  cried  to 
blue  a  -  gainst  the  sky  ;  And  I  cried  no 
chil  -  dren   let      it     in,  And  were  playing  with 


:^^^ 


-^ 


P^ 


see  it       go,    . 

more,     no      more, 
my         bal  -  loon. 


I  cried  to  see  it  go.  . 
And  then  I  cried  no  more. 
Were  playing  with  my        bal  -  loon. 


i 


^^s^p^^^^ 


49 


^z:S=^=i 


BS^s^fP^^tN  :\is  ^'Ir  '^^ 


50 


SUPPOSE 


Anonymo 

us 

-Mo 

9 

J.B. 

Wekerlin 

J/^  'I 

— ^S- 

-A ^- 

— i 

^5_ 

— -> 

H — 

7-:^ 

-^ — -J— 

H N- 

—\ — ^— 

T — ^~ 

— 1 

1  *i  ^ 

bM_S^ 

^^ 

^ 

bW__jd 

L^ , 

L*_! 1 

— ip*— ' 

i 


^m 


te 


51 


1.  Sup-pose    a     lit  -tie   cow  -  slip  should  hang  its  gold -en    cup,         And 

2.  Howma-ny  wea-ry   trav  - 'lers  would  miss  its  dain  -  ty  grace,        How 


say,  "I'm  such    a       ti   -   ny    flow'r  I'd   bet-ter     not  grow  up.  . 
ma  -  ny     lit  -  tie  ones  would  grieve  to   lose   its     smil-ing   face] 


lO 


5^  ^^^^^^^^i^^^^^ 


Interval 


4-5     53 


i 


ifi: 


^r&^ 


N=T^=]^ 


Intervals 
3-6 
1-4 


M^Br=rnTp-Tf-cfrTt^^j^ 


THE  WIND 


i 


Adapted  from  Caroline  A.  Mason 
Larghetto 


George  A.  Veazie 


ifi: 


fe^^^S^ 


55 


iS: 


i 


1.  Which -ev  -    er   way     the    wind  doth  blow,  Some   heart  is      glad   to 

2.  My       lit    -  tie  bark  sails    not       a -lone;    A       thou-sand  fleets  from 
9  .9 


5^^^ 


i 


have       it       so ;    Then  blow      it       east       or   blow        it    west,   The 
ev    -  'ry      zone    Are    out       up  -    on  .  .    a     thou  -  sand  seas,    And 


e; 


^^m- 


wind  .     .        that      blows,  that  wind 

each  .     .  a     -    waits  a  fav 


IS 


best, 
'ring      breeze. 


IF  ANIMALS  COULD  TALK 


i 


Abbie  Farwell  Brown 
Andantino 


fe 


^^ 


S-^ 


56 


E2S 


'^=i^ 


^=^ 


i 


1.  I     wish  I    knew  the  simple  words  To  talk  with  fish  and  beasts  and  birds  I  We 

2.  But  they  are  wis  -  er     far  than  we,  And  oft  -  en  grieve,it  seems  to    me,  Be 

9 


^ 


t^ 


^ 


^ 


W 


call  them  "dumb  "  because  they  speak  A  tongue  not  English, French,or  Greek, 
cause  we   folk  of     tai  t  lor  -  land  Can't  an-swer  them  nor    un  -  der  -  stand. 


I 


i 


II 


8 


Chapter  III 

KEY   OF   F 


c  d 


22: 


^_^ 


57 


1^=^^^^^^^^^^^^^^^^^=^^ 


eg  Phrase 


mark 


i 


^^ 


^'- 


^ 


§53; 


59 


1.  Hear  the    mu-sic     o£    the  drum,  Down  the  street  the   sol-diers  come. 

2.  O'er  their  heads  their  banners   fly,       As  they're  marchingproudly  by. 


gj^^g^^^^g^^^M^^E^^ 


^#^ 


i^J 


?=± 


m 


g 


I 


^ 


^ 


i 


^ 


^ 


^ 


^ 


^ 


Intervals 
60       1-3 
2-4 
3-5 


Intervals 
61       1-5 
2-5 
8-5 

Hold. 
,     Intervals 
02       1-5 


3-5 
5-1 


A  FUNNY  STORY 


From  the  Gerrrian  by 

W.  M.  Thackeray 

Allegro  as  sat 


^ 


i 


^ 


^ 


i^ 


i 


M.  White 
9 


^ 


63 


Breath 
mark 


1.  There  lived  a    sage  in    days  of  yore, And  he    a  handsome  pig-tail  wore, But 

2.  He  mused  upon  this  curious  case, And  said  he'd  change  the  pigtail's  place,  And 

3.  Says  he  "  The  mys-te-ry  I've  found,"  Says  he  "  The  mystery  I've  found ;  I'll 

4.  Then  round  and  round  and  out  and  in,  All  day  the  puz-zled  sage  did  spin,In 


S 


1-. 


^: 


g: 


i 


I 


wondered  much  and  sorrowed  more,  Be  -  cause  it    hung  be  -  hind  him. 

have  it     hang-ing     at    his     face, Not  dang-ling  there  be  -  hind  him. 

turn  me  round;"  He  turned  him  round, But  still    it    hung  be  -  hind  him. 

vain — it     mat-tered  not     a     pin,  —  The  pig  -  tail  hung  be  -  hind  him. 


12 


Intervals 


2-5       64 
7-5 


i 


^^^ 


_j  J  I  ^==Hf^ 


i 


Z2: 


Intervals 
3-6       65 
1-4 


i 


»s 


-# ^ 


1^ -**- 


il 


HAIL,  FAIREST   LAND 


66 


Intervals 
7-5       67 
2-6 


Slur. 
Intervals  ^„ 

2-7      68 

4-7 


M.  A.  L.  Lane 
Maestoso 


S.  HOFFER 


^ 


^3 


^ 


3^ 


^ 


1.  Hail,    fair  -  est    land,  we  greet  thee  1  Ma  -  ny    bless-ings  on    thee  pour ; 

2.  Hail,  land    our   fa  -  thers  cherished  !  We    will  love  thee  more  and  more  ; 

9  ^ 


w-^ 


Pg^^: 


^ 


:i 


Homes  glad  with  peace  and  plen  -  ty  Grace  thy  fields  from  shore  to  shore. 
"  Right "  still  must  be    our  watchword,Freedom's  flag  go     on     be  -  fore. 

1  1 


&=F 


^==F: 


^ 


^ 


1.2.  Long    may    our     land     be    brave,    Loy   -    al      to      serve  and     save, 

9 


r=^ 


3 


t 


22 


z:^ 


May        our   bright   ban  -  ner     wave  For        ev     -      er  -  more. 


^g^F^^^f^^^^^g^^^^rir^-3 


i3 


i 


rt— y 


-»^— *■ 


I 


SANTA  CLAUS 


13 


^ 


Celia  Standish 
Moderate 


t^- 


humming. 


69 


^ 


1.  Tell  me  what  you  have  for  me,    San- ta  Claus,  (z^'^t^)      Tell  me  what  my 

2.  Then  I  want  a  watch  and  chain, San  -  ta  Claus,  (  h'm  )      Boots  to  wear  out 

3.  Sis  -  ter  wants  a  new  sled  too,   San  -  ta  Claus,  (  h'm  )    She  wants  one  that's 


i^ 


t 


£ 


^ — ^ 


gifts  shall  be,     San  -  ta  Claus.  ( h'm  )       First   I  want     a 

in     the  rain,    San- ta  Claus  ;  (^'/?2  )         If  you've  candy 

paint-ed   blue,   San  -  ta  Claus  ;  (  h'm  )         If    you  have  not 


^m 


m 


clip  -  per  sled, 
bring  me  some, 
sleds  for  two, 

9 


9 


^ 


Then    a  sweat  -  er     blue  and    red,  Or    an     o  -  ver  -  coat   in  -  stead, 

And    I    want    a     real  snare  drum.       If    you  please  a      top    to    hum, 
I     can  make  my     old    one    do.        Don't  for -get   the    one  that's  blue, 


-<^- 


:Ji 


C^ -- 


22 


San  -  ta  Claus,  First  I  want  a  clip -per  sled,  San  -  ta  Claus. 
San  -  ta  Claus ;  If  you  please  a  top  to  hum,  San  -  ta  Claus. 
San  -  ta    Claus;  Don't  for -get  the  sled  that's  blue,   San  -  ta   Claus. 


^fTi-^^F^^^^^g^^^g^3:n^^D^ 


Tie. 
70   Interval 
1-6 


^m 


^ 


-^- 


t- 


^P="^ 


3t^ 


wz-z^ 


^^^^^^ 


:1=i 


-pi— ^- 


71 


Intervals 
4-6 


Intervals 


-  I     I     .        I        III  I      .      I  ■  Intervi 


^^J  J  J|J  rl'=^^ 


•»-*■ 


S^l*     f*     g 


I 


staccato 


"^ — «f — II  73  non- 
isgato 


14 


A  STORY 


i 


Frank  Dempster  Sherman. 
Allegro 


George  A.  Veazie 


74 


^^=^ 


0     m    igs 


-^^-«- 


ijg 


^  '\d 


1.  Down  in     a     gar  -  den  old  -  en,  Just  where  I    do     not  know,  A 

2.  This  was  the  drink  of   wa  -  ter        Sipped  by  the  rose  each  day.  But 


^^ 


^ 


-P  y  ^ 


^ 


■P2_ 


:^~w 


but  -  ter  -  cup   all  gold  -  en.  Chanced  near  a  rose  to  grow,     Chanced  near  a 
no     one  yet   has  caught  her  Drinking  in  such   a  way,  Drinking  in 


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rose  to   grow  ;      And  ev  -  'ry  morning  ear  -    ly      Be  -  fore  the  birds  were 
such  a   way.  Of  course  it  is    no   trea  -  son    To    say  that  thus   she 


i 


^ 


dewdrop  pear-ly     Fell  in  this  dain  -  ty     cup. 
just   the    reason    She  has  such  dew-y      lips. 


gJ^ULg^ 


up, 
sipSj 


A     ti  -  ny     dewdrop  pear-ly     Fell  in  this  dain  -  tj 
And  that  is     just   the    reason    She  has  such  dew-y 


^5^^ 


Interval 
6-3 


76 


77 


% 


S 


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itt=± 


^^ 


^ 


THE  DUSTMAN 


Mary  Vaughan 
Andante 


M.  White 


a: 


^§5^i^ 


^ 


8=1 ' 

1.  Sleep,  the  dust-man    now     is    nigh,Moth-er      sings  your  lul  -  la  -  by, 

2.  Soft    and  slow  the     breez-es     sigh,Starsare     watch-ing  from   on  high, 


w^ 


^ 


3 


p 


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Lul  -  la  -  lul  -  la,    lul  -    la  -  b)',  Lul  -  la  -  by,     oh,    lul  -  la  -   by. 
Lul  -  la  -  lul     la,    lul  -   la  -  by,  Lul  -  la  -  by,     oh,    lul  -  la  -   by. 


15 


i 


5^ 


^ 


Giocoso 


fe^ 


THE  SPIDER  TAILOR 

9  . 


'-m — ^— *- 


R.  S.  Church 


g 


^ 


79 


1.  A     spi- der  once  did  ask     a    fly,  "Oh,  may    I     take  your  measure ?  No 

2.  "Your  craft  is    ver  -  y  great  I  hear,"The  prudent  fly    made  an-swer," But 


i^^ 


\^^—x::t 


i=* 


tai   -  lor   has   such  skill     as      I,      For  you    I'll     work  with  pleas-  ure." 
still  my  clothes  might  cost  me     dear,  So  catch  me     if       you  can,     sir." 


^^^^^^m^^=^^=^=^^^ 


o      Interval 
00       6-1 


i 


Celia  Standish 
Andante 


SLEEPING  SNOWDROPS 


C.  S.  CONANT 


53^Ei 


P3^^ 


I.  Out  there   in       the     gar  -   den,       Sleep-ing     in         a        row, 
2.' Soft  and    warm 'tis       ly    -   ing.       O'er  each  daint-y        head, 
3.  May   be      they   are  dream  -  ing,       Dreaming   of       the       spring, 


?^^ 


^ 


All     the     lit  -  tie      snow   -  drops      Lie      be-neath   the      snow. 
They  are  snug  and     co       -       sy         In      their   lit   -  tie      bed. 
When  the     lit  -  tie      brooks     flow       Where  the  rob  -  ins      sing. 


81 


Allegretto 


is 


SNOW 


Henry  K.  Hadley     f 


r^- 


82 


i^ag 


I 


1.  Snow,    snow       ev  - 'ry -where,     On     the  ground  and  in      the     air, 

2.  Snow,    snow       far    and  near,      We      are  glad     to     see       it     here ; 


l=F 


^ 


In    the  fields  and   in     the  lane.      On     the   roof  and   win-dow  pane. 
Snow-ball  mak-  ing  will    be    fun,     When    to  -  mor-row's  work  is    done. 


i6 


Chapter  IV 


KEY  OF  D 


m 


ii^g 


83 


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tr Sr 


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^^-\-i5>- 


sr 


Phrase 
mark 


84 ^t^^— I  II     I  ij  a^=Va   I  !    J--d^^h*--y 


^s^=^WT=^ 


^-t=i 


# — ■# 


it:^ 


5 


1.  Whirl-ing,swirl-ing  from  the  sky,      See  the  mer-ry  snow-flakes  fly. 

2.  Danc-ing,glanc-ing    to    and   fro,    Blown  by  win  -  try  winds  they  go. 


Intervals 
5-3 
2-5 
8-5 


86 


^ 


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^ 


i^ 


Intervals 


1- 
7-2 


3       87  =i^ 


:2: 


:4: 


^— h^- 


=i^=i^=FF=^ 


£=i 


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Intervals 
6-8 
3-8 


88 


i 


s^^^^ 


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£E 


2:^ 


COASTING 


Celia  Standish 
Animato 


A.  Mari 


Breath  8q  \-yL^'t2 — j : 

mark        ^  Pfe  ^4      I w 


? 


i 


i 


1.  All   the  fields  are  white  with  snow, The  wind  is    cold  and  sting -ing; 

2.  Up  the     hill   we    hur-ry    back.  All  read -y     now  for    start  -  ing ; 

9 


i 


-1^— h^ 


#-— ?^ 


Swift- ly    down  the    hill  we      go,  Our  laugh-ter    loud-ly    ring    -ing. 
Clear  the  track  there, clear  the  track  1  For     off     a  -  gain  we're  dart  -  ing. 


17 


^ 


i 


^^^mm 


Intervals 
-^ hi   90       2-4 


^ #- 


7-2 


^ 


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Slur. 
91  Interval 

6-2 


LIGHT  AND  SHADOW 


John  B.  Tabb 
Espressivo 


James  Stanley 


? 


t=x 


5 


i 


1.  ''How    I    love  you,  lit  -  tie  maidl"    Said  the  sun-beam  to   the  shade, 

2.  But     at    twi  -light  ere    he  died,        She  was  weep-ing    at    his  side, 

t  ' 


:?2: 


92 


ii 


As       all     day    she  shrank   a  -  way      be  -   fore    .     .      him. 
And     he      felt     her    tress  -  es     trail  -  ing      o'er    .     . 

T~2  ^ 


be- 


rtt 


W 


22 


S- 


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fore  . 


him. 


him. 


o'er 


him, 


oer 


him. 


Repeat. 
First  and 
second 
endings 


ife^ 


i^±± 


Intervals 

93      tfi 


P 


Suggested  by  the 

German  of  Gollhard 

Andante  sostenuto 


FAITH,    HOPE,   AND   LOVE 


^^ 


Ch.  H.  Rinck 


^ 


^ 


94 


P33^ 


1.  Faith  1  thou  art    ourguid-ing  light, 'Mid  deep  darkness   of   the  night; 

2 .  Hope  !  thou  art    our   an  -  chor  strong,  When  dark  dangers  round  us  throng  ; 

3.  Love  !  thou  art  God's  smil-ing  face,  Pres  -  ent  here,  in     ev  -  'ry  place  ; 


^ 


1^ 


^^=s^ 


Let  us  keep  thee  e'er  in  sight,  Burn-ing  ev  -  er,  burn-ing  bright. 
Hold  us  sure  -  ly,  hold  us  long,  'Mid  the  waves  of  woe  and  wrong. 
May     we     ev  -  er    own  thy  grace,While  we    run  life's  fleet-ing  race. 


i8 


Intervals 
7-5 

2-5 


95 


I 


W 


96 


Celia  Standish 
Con  spirito 


feg 


THE  NEW  YEAR'S  DAYS 

9 


C.  S.  CONANT 

9 


^ # 


1.  The  New  Year's  days  are  white  with  snow,  The  winds  are  laughing  as  they  blow;  A- 

2 .  Each  rushing  stream  is  warmly  dressed,  An  i  -  cy  coat  up  -  on  its  breast ;  And 


% 


^ 


fefea^ 


g 


cross  the  ponds  and  lake  we  glide,  And  o'er  the  drift-ing  snow  we  ride.  And 
on  each  branch  of  ev  -  'ry  tree.  Packed  in  as  close  as  close  can  be,  The 

I 


I, 


*=i 


S 


^ 


^ 


down  the  hills  we     gai  -  ly    slide,  For     it      is   win  -  ter   weath  -  er. 
next  year's  leaf-lets    we    can   see.  All     nes- tied  close  to  -  geth  -  er. 


Tie  97 


98 


^\'?,-p     »    , »--!•—» — :^ ~) 1 1 \ 1 \ — r- 

y4i  n^"  ^^^ '^  ^  ^^^^^^-z^- 

r^kix  fJ  ^+^    II   1    Jl  %r    1    II   1    ii  . ^^ 

:^^iJ    ^^ J-^^^^.  J    J    J   rJ    J    J    J    ^___^ 

Dean  Swift.     Adapted 
Vivace 


THE  FIVE   VOWELS 


99 


zz 


22 


Z2 


3 


m 


1.  We  are  lit  -  tie  fair  -y    creatures,  All    of   dif-f 'rent  voice  and  feature 

2.  One    in  "tin"  is   well  sur  -  round-ed,By      a  "box"  the  fourth  is  bounde 

9 


^ 


? 


One    of    us      in  "glass"  is     set,       One     of     us        is  found  in    "jet." 
And  the  fifth,  what-e'er   you    do,       Nev  -  er    will       it     fly  from  "you. 


19 


i 


A 


i 


■^-^ 


^ 


s>- 


t 


^-1  100 


STARS 


Nathan  Haskell  Dole 
Andante  con  grazia 


W.  W.  Gilchrist 


'i# 


EM 


^ 


r   "  I" 


1.  O   -    ver       our     heads,  on        the      roof      of        the       sky, 

2.  Yon  -  der's      the     Dog  -  star,     and     yon  -  der       the      Bear, 


i 


t 


i 


Thou-sands  of     stars  wan-der    night   -  ly ;      What    a     de  -  Hght  to     be 
Three  jol  -  ly     plan  -  ets    be  -  tween    them ;  Sometimes  the  moon  like    a 


I 


^m 


3^ 


^ 


^^^ 


up  there   so    high,       Light  -  ing   the  whole  world  so     bright  -  ly. 
queen  lin  -  gers  there, —    Sure  -  ly,    my  dear,  you  have    seen      them. 


g 


s 


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^--* 


^—0- 


^-Nf 


fe^±t2 


>^-i>r 


0—d 


^  '  S' 


lOI 


102 


Interval 
8-1 


'^^ 


^^ 


^^=^ 


^^ 


-n-^ 


H-> 


103 


8  1>    >^M^ 


THE  OLD  CLOCK 


Nathan  Haskell  Dole 
Allegro  moderato 


K.  Lambert 


fe=^ 


sa 


*=s 


B 


I 


1 


-^4-4- 


r^^ 


-^^^ 


n?1-=4- 


104 


SES 


^ 


^zzat 


1.  "  Tick  !     Tock  1     Tick  !       Took  l"Momentsare  hur-ry-ing,scur-ry-ing  by ; 

2.  "Dingl     Dong!    Dingl      Dong  1"  Moments  are  hur-ry-ing,scur-ry-ing  by ; 


^: 


s 


^ 


-^1-4- 


p^^ 


"  Tick  !         Tock !  "  Says  the  clock,    Now  is    the  time   for  work  -  ing. 
"Work  well,"      Says  the  bell,    Noth-ing  is    won     by  shirk-  ing. 


105 


Hold. 
Intervals  jQg 

2-6 

8-2 


20 

:<^Fft|^^^   J  J  j-^  ^  J  ^  -   ;- i^ ;- j> ____j 

A  SNOWBALL  BATTLE 


Celia  Standish 
Vivace 


fi=^ 


^ 


S.  C.  Cooke 
9 


3^^ 


107 


w^- 


1.  The  snow  all  night  was    drift -ing, 

2.  Be -hind  our  fort  we're     ly  -  ing, 


O'er  the  meadows  sift  -  ing,  And 
O'er   it  snow-balls  fly  -  ing ;  O 


^ 


^ 


^ 


^Hit 


^ 


now    the  sun  is     so  bright  and  clear,  And  out   we  rush    to      play.       The 
they   are  shots  from  a  stur  -  dy    foe.  And  we     are  sol  -  diers  gay.        And 

9  9 


snow  -  balls  fast  are      fly  -    ing,  To     mis  -  siles  swift   re  -  ply  -  ing  ;We've 
now    you  see  we're    beat  -  ing,  And  quick  -  ly  they're  re  -  treat  -  ing,  And 


5 


±zS-Mi 


built    a    good  fort  for   the    foe    is  near,  Hur-rah !  for  fun    to  -  day  1 
loud  -  ly  we're  shout-ing  as     off  they  go,  Hur-rah  1  we've  won  the  day  1 


SOMETIME 


Agnes  Lee 

Andante 


James  Stanley 


fe 


108 


1:2. 


i 


1.  When  my  moth-er    deaf    I     ask  When  there'll  be    no    dai  -  ly      task, 

2.  Oft -en  when  the  bright  days  throng,  I     do     long  and  long  and  long, 

3.  And     I     won-der  where  they  are.  Some-time  days,  so    dim  and    far; 

f^f^^      rit a  tempo 


^ 


i 


1C2. 


32 


And  the  hoi  -  i  -  days  will  be,  "  Sometime,dear,'' she  answers  me.  . 
For  the  some-time  to  come  true,  As  it  nev  -  er  seems  to  do.  . 
For     to  w^ait     I  scarce  know  how,  Oh  1  is  some-time  nev  -  er     now  ? 


21 


Chapter   V 


i^ 


KEY   or   B-FLAT 
b 


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-(5^ 


^9- 


-43- 


1^^^^^'°" 


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^       4 


^^rrzi 


3 


^ 


P==^=1  iio 


Phrase 
mark 


/Pb^^  r — p — il — ^^i»» — ^^ ^ — J-d ^ — J i— ^*— " 

.W  4    1 — ^^f — ~ — * — '^^ — ^     •'   -J—J—^—M-JL.-^ — 

III 


1 .  Here  we    go  1        Here  we    go  1        Tho'  the  chilling  winds  may  blow. 

2.  Clear  the  way  1      Clear  the  way  1         'Tis  the  mer-  ry,  mer  -  ry  sleigh. 


-PvF^     a        ^ — -f m d 1 1 1 1 1 ' ^ \ 

-^^-^-^ ^— 1 1— ^s \ 1       J    ^ 1-   .       ^      II 

r\    u           -^ ^ ^, ^         ^ ^ 

/\/'2  f — f—~^ — f — p — s — 4- --^^— 1*^ — ^     ^     II 

-^A -— =t^-= — r-       ^  -^-=J— — I— ^^-^ 

Intervals 
112       3-1 
3-5 


Intervals 

^^i       2-5 
5-T 


Hold. 
114  Interval 
^       6-4 


TWINKLE,  TWINKLE,  LITTLE  STAR 


Jane  Taylor 
A  llegretto 


George  A.  Veazie 


M^^^^- 


tei 


i 


1.  Twin  -  kle,  twin  - kle,    lit  -  tie     star  1  How   I    won  -  der  what  you  are, 

2.  When   the    glo-rious  sun    is      set,  When  the  grass  with  dew   is   wet, 

^     9 


fcs 


J-J|j  J  If  If  J|J 


__-  Breath 
115  mark 


pi 


Up      a  -  bove  the  world  so     high,  Like    a      dia-mond  in    the   sky. 
Then   you   show  your  lit  -  tie     light,  Twin-kle,  twin-  kle,  all    the  night 


22 


Interval 
2-2 


ii6 


m 


32: 


^    r    J 


^.       X 


Intervals 

tl     "7 

5-2 


jF?nrTT7=if  J  J  f  ir  r  r  r  i^ 


VALENTINE'S  DAY 


g 


Edna  Kingsley  Wallace 
Moderato 


Katherine  Ruth  Heyman 
9 


Xl8 


4=4: 


^ -0- 


^^^^ 


l^^ 


*    m     m 


i 


1.  Oh,  when  to-day  the  postman  rings, And  val-en-tines  to  youhebrings,They 

2.  Now  by  the  postman  some  will  go,But  there's  a  bet-ter  way,  you  know,For 

9 


m 


-* ^ 


H*=^ 


# * 


^ 


are   so     ver  -  y     bright  and  gay,  It       is      a     ver  -  y       hap  -  py   day. 
it     is    sure-ly     great -er     fun, To     drop  them  by  the    door  and  run. 


Intervals 


5_3      iig  ^=^. 


2-6 


g 


w-^ 


4r-f  ^ 


0 0 


P 


m 


Interval 
4-7 


Interval 


I 


"» ayt  ^  ^ 


P 


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3-7 


121 


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Slur  122 


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m     9 


J-J  M  >^  11 


DIGGING  SNOW  PATHS 


23 


Nathan  Haskell  Dole.     Adapted 
Allegro  modern  to 


Frederic  Field  Bullard 


i^ 


|^4-J4J-f^ 


i 


123 


1.  O'er   hill  and   meadow  far    and  wide  Is  spread  the  pure  white  snow, The 

2.  We   gai  -  ly    toss  the  snow    a -bout,  We  pelt  each  oth  -  er     too.     And 


i 


w 


t=i 


t 


-^—"^ 


$ 


roads  are  hid    on       ev  -  'ry  side,  The    fen-ces    do    not     show.    With 
all      of     us    with  mer  -  ry  shout,  Our    jol  -  ly     task  pur  -  sue.      Soon 

9  9 


7i        ^ 


a 


t=K 


^1 


i 


bus  -  y    shov-els      now   in  hand,We     dig   our  mar  -  ble      ways, —    It 
ev  - 'ry    one    his     sled  will  bring,  And  plow  a  -  cross  the      snow — Our 

^9 


-^ 


:^^ 


is       a     kind    of      fair  -  y    land,  That  meets  our  daz-zled     gaze, 
voi  -  ces    shall  with  laugh-ter  ring.  As    down  the    hill    we       go. 


g 


twr^ 


■w=^^=^ 


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2--Z:pr 


^—0- 


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I  124 


Tie 


a^^-^?^:^to^^^f7r-rir7r^f=3d^ii^ 


^^^ 


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VS^ 


Intervals 
125      7-5 
4-T 


.  Intervals 
120       3-1 


m 


(^ — p- 


^-^ 


^ 


^E3g 


m 


4-1 


Interval 
127    2-2- 

Syncopa- 
tion 


24 


LULLABY 


Thomas  Dekker.     Adapted 
Lento 


English  Folk  Song 


128 


^ 


^— *- 


22 


1.  Gold  -  en  slum-bers  kiss  your  eyes,  Smiles    a  -  wait  you  when  you  rise ; 

2.  'Neath  the  drow-sy,droop-ing  lids,  Dreams  from  fair  -  y    land  are  hid  ; 


i 


± 


W 


^ 


t 


i 


i 


Sleep,  pret  -  ty       lov'd       one,    do  .    .    not      cry,  .    .  And    I     will 

P 


W 


5^ 


1=?= 


^ 


sing       your      lul   -   la       -     by, 

PP 


Lul  -  la 


by, 


^^iF 


i=i 


lul  -  la 


by, 


lul 


la    -    by. 


129 


aiJ^^MjU-^ii^r^Tr^rtn^TT^^ 


, 


Intervals 
4-6 


!>"!!  ;i;j-,H  n  jj;^Lri^;iJ'Jfjr  fJJ^ 


THE  WANDERER 


131 


English 
,Moderaio 


f 


C.  E.  CONNEW 


1.  O  man,whyare   you    sit  -  ting  so,  For  ver  -y    cold  the  wind  does 

2.  O  mas-ter,  in     the  world  so  wide,    I    have  no  home  where-in    to 

9  9 


i 


i 


1^=^ 


^ 


blow  ?  Why  don't  you  to   your  cot  -  tage  go  ?        Poor    old        man  1 
bide,   No  com-forts  by    my    fire      -     side.       Poor    old       man  1 


25 


i 


^ 


K=;2 


5^ 


* — m J ^ — 0 — * :a — ^ 1 


^—d 


i 


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a=* 


^m 


X=0^ 


132 


^^^'33 


Interval 
5-5 


Frank  Dempster  Sherman 
Moderato 


is 


DREAMS 

9 


N.  S.  Chase 


^^ 


^^g 


134 


tell    us  whence  they  come,What  myste  -  rious 


Who    can 

Once  when  I       was  there,  the  town  Seemed  en-tire 
3.      All     the    men  and  hors-es  there,  Top  -  sy     tur 


2. 


^ 


vy 


re  -  gion  from  ? 
up  -  side  down  : 
in      the    air. 


^ 


^ 


In    what  fair  -  y   coun  -  try   lies  That  strange  cit  -  y      of     sur-pnse, 
Roofs   of  barns  and  hous  -  es  stood  Where  the  stone  foun-da  -  tions  should; 
Walked  and  trot  -  ed    on     the  blue,  'Twas    a      splen-did  av   -   e  -  nue. 


m^- 


^^ 


Whith  -  er    we      in   slum  -  ber   go      By       a     path  we    do     not  know  ? 

And    the  streets  all  seemed  to  run  Straight  as  ar  -  rows   to      the   sun, 

But     at    morn-ing  when    I  woke     I       dis  -  cov  -  ered  'twas    a    joke, 

9 


S: 


a^ 


f 


i 


Is        it      near    or    far       a  -  way  ?    And  what   peo  -  pie     they  ? 

Where  like  rib  -  bons  they  were  wound  Its    great  spool    a  -  round. 

And    that  on    -   ly      in       a  dream    Things  so  strange  may  seem. 


Gabriel  Setoun 
Allegretto 


2^ 


JACK  FROST 
9 


Clayton  Johns 

9 


3 


^^^ 


? 


135 


WS: 


g 


1.  The  door  was  shut  as  doors  should  be,Be-fore  you  went  to  bed  last  night, Yet 

2 .  He  must  have  waited  till  you  slept.  And  not  a   sin  -  gle  word  he  spoke ;  His 

3.  And  now  you  cannot  see  the  trees,  Nor  fields  that  stretch  beyond  the  lane ;  But 


t 


3 


P 


W- 


Jack  Frost  has  slipped  in  you  see,And  left  your  win-  dow  sil  -  ver  white 
sketch-es  made,  a  -  way  he  crept, The  si  -  lent  rogue, be-  fore  you  woke, 
there  are    fair-  er  things  than  these, His  fin-gers  traced  on  ev  -  'ry  pane. 


26 


Chapter  VI 

KEY  OF  A 


i 


^ 


7y-g^ 


^^^;rz7r.^^^i^^=^=^^^ 


136 


'2-,5»- 


-^^2- 


^^^T^ 


Phrase  •,>, 
mark    ■*'«5/ 


y^i^^=F^^^7ii^^^T"^'T^O^ 


M 


^ 


138 


r=?^ 


i3 


^ 


:*=:^ 


1.  O'er  the  school-house  floats  our  flag, Winds  and  weather  brav  -  ing. 

2.  Chil-dren  love  its  folds  to    see,         In    the  breez-es    wav  -  ing. 


Slur. 
Intervals 

1-3      139 

5-3 

5-7 

Repeat. 
Intervals  ^  .t\ 
3-5       *40 

4-1 


a%»=,^^[f^¥fF^f^3^^gf3^^X[jgTJ 


p¥^h-riT^J  ^'r  r  l^^cteJpSl 


141 


Breath 

mark 


Tie 


i 


y 


Moderate 


Pf 


TRY,   TRY  AGAIN 


George  A.  Veazie 


* 


p 


i 


i 


(  Here's  a     les  -  son   all  should  heed,  Try  a  -  gain  !  Try  a  -  gain  !  \ 

(      If      at    first  you  don't  suc-ceed,      Try  a  -  gain  I  Try  a  -  gain  !  \ 

\     Let  the  task   be  ne'er  so  hard.      Try  a  -  gain  1  Try  a  -  gain  !  \ 

'  \  Time  will  sure  -ly  bring  re  -ward,      Try  a  -  gain  1  Try  a  -  gain  1  ) 

fei: 


Let  your  cour-age  well    ap  -  pear  ;       If     you    on  -  ly    per  -  se  -  vere 
When  you  strive 'tis  no  dis  -  grace,  Though  you  fail  to    win  the      race; 

9 


^i^^-^^-^^^ggg^gj^ 


You    will    con  -quer,nev  -  er      fear  ;       Try,    try      a  -  gain  1 
Brave  -  ly     then,  in  such     a      case,        Try,    try      a  -  gain  1 


27 


^iJ=BJ4^f|Ji  I  ||.i|  'J II 


142 


Intervals 
2-7 
4-2 
2-5 
5-1 


GEORGE  WASHINGTON 


Edna  Kingsley  Wallace 
Moderate 


r^ 


S53 


:» 


^ 


Laura  Ells 

9 


143 


tf 


m 


1.  The  first  in  peace,the  first  in  war, And  in   the  heart  of   ev  -  'ry  one,His 

2.  In     all    thepic-turesthat  I    see,  He   is    so   ver  -  y   big   and  tall,  I 

9 


t 


-^^ 


name     is     hon  -  ored   near   and    far.  The  great  George  Washing-ton. 
won  -  der,  when   he      cut      the   tree,  If       he    was  real  -  ly     small  ? 


y 


^ 


1= 


Intervals 
1-6 

144      5-1 


FLAG  OF  OUR  NATION 


i 


Charles  Welsh 
Con  spirito 


J.  M.  McLaughlin 


M 


t 


» 


221 


^ 


145 


i 


s^- 


1.  This        is      the    song   we     sing,     Flag       of      our      na  -    tionl 

2.  Proud  -  ly        it     floats   on     high,    Flag       of      our      na  -    tionl 

9  9 


^S 


^^ 


i 


3^ 


i 


fei: 


To       thee     all     hon  -  or     bring,  Flag        of      our     na     -   tion  I 
Blue       as      the    sum  -  mer     sky.    Flag        of      our     na     -   tion ! 

9 


^ 


^ 


^ 


tf 


For     thee     our      fa  -  thers  fought.  Count  -  ing      all     else     as  naught, 
Red       as      the     rose     is       red.    White     as       the  clouds  o'er-head, 

9 


^ 


^ 


Great        was     the  work  they  wrought,Our        na  -  tion's  flag  1 
Brave        men  you     oft     have   led, —  Our        na  -  tion's  flag  1 


28 


Interval 
5-5 


146 


1^ 


pg=s 


*< 


147 


» 


y    X    r    >   X    y 


^ 


THE  BELL 


Marcato 


Jane  S.  Morris 
9 


148 


r^ 


^— ^-^- 


^=P 


i=^ 


1.  A  -  rise,  a  -  rise  1         The  bell   is     ring-ing    in     the  tow'r,  A  - 

2.  A  -  rise,  a  -  rise  1        The  bell    a- wakes  us  from  our  sleep,  A  - 


fei: 


d     y     y — m- 


^ — ^ — ^- 


^    X     y 


rise, 
rise, 


a  -  rise  I 
a  -  rise ! 


It    tells   the  morn- ing  hour. 
It     calls    in  tones    so  deep. 


Interval 
5-3 


149 


i 


y 


s 


^5=* 


r— 1^-3[ 


^^ 


^ 


Intervals 


6-4       150 
g-5 


i 


10^  J  I* 


W^^ 


:rrif^  ^ir  f  jf^rfT^^^^ 


Interval 
6-2 


■#» 


» 


§^dUM-"^^r  J I  ^  ^"^ 


.g^   # 


^ 


m    ^  -rzf 


Hold.  I — b^nS 


Interval   1 152 

6-3  [-f^^^4- 


^ 


r=¥ 


5^fTr~f^=J4^— ^Tf 


2S 


WHY? 


29 


tf 


mm 


Allegro  moderato 


Mrs.  H.  H.  A.  Beach 


t 


^^ 


^ 


153 


M 


1.  I    know     a      cu-ri-ous    lit  -   tie   boy,  He's    al  -    ways  ask  -  ing 

2.  He  wants   to    know  why  wood  should  swim,When  lead  and  mar  -bles 

3.  He  wants   to    know  why    fish    have  gills,  And   why    we    can  -  not 


^m 


? 


^ 


^^ 


i 


** 


Why;  .  Why  this,  why  that,  why 
sink?  .  Why  stars  should  shine,  and 
fly,     .     .       Why    steam  comes  from    the 


then,  why  now.  Why 
winds  should  blow,  And 
ket    -   tie     spout,  And 


^ 


^ 


* 


not,  why  by  . 
why  we  eat  . 
rain      falls     from 


and  by  ?  . 
and  drink  ? 
the      sky  ?  . 


Why  this,  why  that,  why 
Why  stars  should  shine,  and 
Why  steam  comes  from  the 


^ 


■^^ 


3tzM: 


then,      why  now, 
winds  should  blow, 
ket    -    tie    spout. 


why  not,  why  by  . 
and  why  we  eat  . 
and   rain     falls   from 


and     by  ?  . 
and     drink  ? 
the      sky?  . 


mxtfw^fm!^^^=frU^r.\r.  JJiJ  i^ia 


154 


^k 


— P^utf-Q—      _       Nl     I  I     r*^  I     .       I     r*n      ^K  I  1^     '■  Intern 


Presto 


SONG  OF  THE  TOP 

9 


A.  S.  Blake 


w=^ 


m 


156 


^=v=^K  P  ^^ 


m 


m 


1.  Swiftly  and  smoothly  and  gaily  I'm  spinning,oh,round  and  round  Igol 

2.  Loud-ly  and  clearly  my  music  is  ring-ing,as  round andround  Igol 


^ 


^^ 


t 


Gladly  I'm  twirling  and  madly  I'm  whirling,and  glid-ing  to     and  fro.  . 
Mer  -  ri  -  ly,cheer-i  -  ly,  glad-ly  I'm  singing, and  glid  -  ing  to     and  fro.  . 


30 


Interval 
7-5 


157 


158 


y-^. 

W^^ 


f—^- 


m 


i 


h     ^ 


r  p  (:  JM^jeN^ 


^t& 


S 


^%^ 


^    u* 


159 


THE  MERRY  SKATERS 


Mary  Vaughan 
Allegro 


German  Folk  Tune 


m 


m 


is=t 


5 


^ 


-^— ^ 


# — # 


I.  The  ice  is  sparkling  cold  and  clear, The  laughing  girls  and  boys  are  here, And 
We  skim  the  ice  in  cir-cles  wide, As  round  and  round  we  swiftly  glide,  And 

9 


i-i: 


m 


m 


t 


-^^— ^ 


s 


skates  so  mer  -  ri  -  ly     ring,  .     .    And  skates  so  merrily  ring  ;  As 

gai  -  ly,  cheer- i  -  ly     sing,  .     .    Andgai-ly,  cheer-i-ly  sing;  As 


5^ 


m 


i 


^=^=M 


;^=^ 


o'er  the  ice    we    go,  . 


0- 


I- 


.    .  Heigh-o  1  Heigh-o  I  Heigh-o  1 


As 


^ 


-^— ^ 


^^^=c=a^t 


-^1— ^- 


o'er    the  ice     we     go, 


.  Heigh-o  1  Heigh-o!    Heigh-o  1 


COLD  THE  WINDS  OF  MARCH 


Andante 


Scandinavian  Folk  Tune 


H^ 


160 


■f^ 


W^ 


^^^^^ 


1.  Cold  the  winds  of  March  are  blow-ing,  And    it    nev  -  er  ceas-es  snow-ing, 

2.  Soon  will  come  the  mild  spring  showers,  Af  -  ter  that  the  summer  flow-ers, 

9     Allegro 


u 


^ 


-^2. 


Snow-ing,  blow-ing    all  day    long.      Yet     I     sing    a    mer  -  ry   song. 
And    I'm  hap  -  py     all  day    long.     Sing  -  ing  still    a    mer  -  ry  song. 


Chapter  VII 


31 


i 


KEY  OF  E-FLAT 


j=5^-^°^^^=ig=a 


K 


-O'  r-'  g-^ 


■si-sr 


161 


•5^25- 


±, 


±=^-=t: 


^^ 


m 


^     Phrase 
102  mark. 
Tie 


^ 


S 


^;    163 


r=^^^ 


^-t-^t-^ 


m      m 


^ ^ 


-,»— ^^ 


1.  Since  the    rob  -  in  went  a  -  way,         I  have  watched  for  him  each  day. 

2.  Now  that  win  -  ter  days  are  past,      Sure-ly    he   will  come  at    last. 


^^ 


t 


^ 


Interrals 
164        5-8 
3-8 


^ 


i^ 


^ 


Intervals 


f 


^|gj..5  g 


zfc 


^ 


^ 


Intervals 
166        ^3 
2-4 


English 
^    ^Allegretto 

— h 

SPRINC 

J  IS  co» 

9 

[ING 

T. 

M — r 

E.  MORRE 

LL 

9 

P4=^ 

^ a^ 

^^=1^ 

ff=^ 

=^h= 

-*— w-^ 

F5=^ 

cJ 

167 


Breath 
mark 


i 


1.  spring  is    com-ing,spring  is  com -ing, Rob-ins,  rob  -  ins,build  your  nest 

2.  Spring  is    com-ing,spring  is  com  -  ing,Flow'rs  are  com-ing,com-ing  too  ; 

9 


a 


^=^ 


^ 


^ 


^S 


Weave  to  -  geth-er  straw  and  feath-er,  Do  -  ing  each  your  ver  -  y    best. 
Pan-sies,    lil  -  ies,  daf  -  f o  -  dil-  ies,  Now  are  com  -  ing,  com-ing  through. 


32 


Intervals 
6-8 
4-6 
2-7 


l68 


Mr  ir  r  ^  r  If  ^  r  ^ij~^t  r  ir  r  r  ii 


PUSSY  WILLOW 


Rose  Miles 
Andante 


Carl  Reinecke 


169  ^&# 


^3^ 


t 


f^- 


^ 


^=£* 


1.  Ere    the  spring-time, pus  -  sy     wil  -  low  Woke  from  sleep  one  day, 

2.  Then  she    stole  out    ver  -  y    soft  -  ly.     In   her  dress  of    grey, 

3.  O'er  the    gai  -  ly    smil  -  ing   riv  -  er,  Joy  -  ous  -  ly  she  swung, 

9 


S 


e 


^ 


Heard  the  chill  -  ing  winds   a  -  blow  -  ing, Felt  the  branches  sway. 

Saw    the   gen  -  tie     sunbeams  shin -ing.  Saw  the  chil-dren  play. 

While  the  blue-birds,blithe  andmer  -  ry,  On   the  branches  sung. 


Interval 
2-5 


i 


1703^ 


l^S: 


S 


Intervals 


5-7      171  ^tS 


7-3 


i 


^±±1 


^ 


SI 


THE  WORLD'S  MUSIC 


Gabriel  Setoun 

Alkfrro  tnoderato 

t         ■ 


Frank  G.  Cauffman 


^^ 


i 


172 


•L,ULJ4^-f-f 


i 


I.  The  world's  a  very  happy  place,Where  ev'ry  child  should  dance  and  sing,  And 
2  I  wak-en  when  the  mornings  come, And  feel  the  air  with  song  a  -  live,  A 

9 


^ 


EE 


^ 


^ 


^ 


al- ways  have   a    smil -ing  face, And  nev  -  er   sulk  for      a  -  ny  thing, 
strange  sweet  mu  -  sic  like   the  hum  Of  bees   a  -  bout  their  bus  -  y   hive. 


Intervals 
4-7      173 

D— 1 


^ 


i 


33 


^ 


^ 


^   I    J — \ri^-d 


Slur. 
Intervals 
174      4-7 
6-4 


APRIL 


Julius  Altman 
Moderato 


W.  W.  Gilchrist 


t=t 


S 


1 


5 


175 


1.  The  win  -  ter  days  have  van-ished,And  spring  at  last    a-wakes ;       Bright 

2.  Our  joy    and  love  for  -  ev  -    er  Seemed  buried  in    the  earth;        But 

3.  The  sun    in  springtime  splen-dor  Shines  forth  serene  and  bright ;      We 


ik: 


^ 


^^ 


ffi 


^ 


gold  -  en  flow'rs  are  glow  -  ing,    And  fra-grant  winds  are  blow  -  ing,The 
spring  with  boundless  meas  -  ure,    To    all    our  hearts  brings  pleasure,  And 
may     a    sym  -  bol  bor  -  row,  How-ev  -  er    dark  our  sor  -  row,  Night 


^^^^^^^=^^f^^ 


^ 


world  new  glo  -  ry       takes, 
chang-es     grief   to       mirth, . 
yields    at    last     to       light,  . 


The  world  new  glo  -  ry    takes  1 

And  chang-es    grief    to    mirth  1 

Night  yields  at    last     to     light  1 


f^^\I^T~U 


^^ 


176 


Tie 


m    J  I  g 


e^ 


i 


-is»- 


t 


22: 


^ 


^ZZ3t 


-GH 


H  177  Repeat 


^^ip^^^^^^iTtp^^hJ-^  J  JU.&g^ 


^  Intervals 
178      2-6 
1-4 


te==?2=^ 


T^- 


Sii 


iB3 


G>  , 


34 


OUR  COUNTRY'S  HEROES 


^§ 


Moderato 


German  Folk  Tune 


*^^ 


179 


# 


3^ 


(Hail 
'•  jHail 

(Hail 
"•  1  Hail 


to  the    he  -  roes  who  fought  for  our  na  -  tion, 

to  the  men  who  were  fore-most  in  dan  -  ger, 

to  the  lead  -  er      in     our  rev  -  o  -  lu  -  tion, 

to  the  brave  who  were  true  to  their  ban  -  ner, 


Pa  -  tri  -  ots 
When  there  were 
Wash- ing- ton 
Hon-ored  and 


g 


^EEfe^ 


P 


m. 


who  for     free   -  dom    died  1 

foes  on       ev    -    'ry      side ! 

first  in      free  -  dom's   land  1 

loved  their  names  shall   stand  1 


Hail     to     the     men       so 
O   -  ver     our      na  -  tion 


^-7-7T7~3B^ 


a 


brave      in     strife 
far       and   near 


Dur-ing     our      na  -   tion's  strug-gle     for 
Ev  -  er     their  mem  -  'ry      we     will      re 


i 


IS 


i 


life,  - 
vere, 


When  there  were  foes       on       ev    -    'ry      side. 
Hon  -  ored  and  loved   their  names  shall   stand. 


^so^te^Q^j^ 


DO  NOT  DELAY 


Allegro 


'^'S^ 


^^ 


G.  M.  Garrett 


1.  Gath  -  er      ros    -   es   while    tney  bloom,  Nev   -   er      lose       a 

2.  Men  have  mourned  their  whole  life  throughjOne     good  deed's   de 


i 


m. 


^ 


Nor        in    sloth        one   hour      con-sume. 
Do  at    once       what  you're      to       do, 


/-^  1 1  j— J^pS 


:^ 


Time  doth  pass  a  -  way. 


Time  doth  pass       a  -  way.  . 


35 


^^^^^^m 


S=F^ 


182 


t=5= 


^ 


PE^: 


^-^ 


*=^=;& 


f?=F^-3 


^^x83 


THE  VIOLET 


Jane  Taylor 
Lento 


R.  Mellesh 


^-j,j-jj^ia=g^F^ 


184 


m 


1.  Down  in  a  green  and  sha  -  dy     bed,     A    mod  -  est  vio  -  let  grew, 

2.  Yet  there  it  was  con  -  tent     to    bloom,In   mod  -  est  tints  ar  -  rayed, 


^^ 


^^^^ 


^ 


I 


Its  Stalk  was  bent,  it     hung  its    head,  As    if  .  .  to  hide  from  view,      And 
And  there  dif -fused  its  sweet  per-fume,  With-in      the   si -lent  shade.  Then 


p^^=-?^-^-^J:^a?F^tg=siij 


yet        it    was     a     love  -   ly  flow'r,Its   col  -  ors    bright  and     fair, 
let        me    to     the   val   -   ley  go,  This  pret  -  ty    flow'r     to      see, 

9 


|fe^5fe^;fe:J^^gggg^;^ 


It  might  have  graced  a  ro  -     sy    bow'r,  In  -  stead   of  hid  -  ing  there. 
That   I  may    al  -  so      learn  to    grow,    In  sweet  hu  -  mil  -  i  -  ty.  .  . 


% 


Mary  Vaughan 
Allegretto 


MY  KITE 


Isidora  Martinez 


^ 


^ 


6^ 


185 


Z2 


M_ 


1.  On     a    pleas-ant      day  my     kite,     .  When  the  wind  blew  loud-ly, 

2.  Long  I   stood  and  watched  it     fly,    .    .   From  my  sight  fast    go  -  ing, 

3.  Oft      I     won-der     if      my     kite  .    .  Still     is      swift-ly     fly  -ing, 


Efc 


^ 


^ 


iS^ 


Slipped  a  -  way  and    took  its    flight,   Sail  -  ing    off      so  proud  -  ly. 
High   up  toward  the  sun  -  ny     sky,       Ev  -  er  small  -  er    grow  -  ing. 
Or     if      on      a      rain-bow  bright,  Long  it      has  been     ly     -  ing. 


36 


Chapter  VIII 

KEY  OF  E 


i 


u 


^^ 


i86=i?£?» 


^     .  g 


152: 


-ig  ■  g? 


Phrase 


187 


^ 


P4 


»«.       ^y-4    J^ 


^ !S> 


:i=i 


i 


y 


t 


188 


■s?f# 


1.  Sleep,  sleep,  sol-diers  brave.     Sleep  where  the  flow-ers  wave. 

2.  Blow,  blow,    bu  -  gle  clear,      Their ,  mem-'ries    we     re  -  vera. 


Intervals 


4-6 
3-5 
2-4 
1-3 


ti  ">wm 


f^m 


#?^r^^ 


Intervals 

^3       190 
5 — 2 
4-1 
5-« 


^ 


St 


PRETTY  PIGEON 


Breath  iqi 

mark       ^ 


Andrea-Elmia 
,   u     Moderato 


Frederic  Field  Bullard 


±: 


^ — 1^ 


1.  Pret  -  ty    pig -eon    on.-  thereof.    Do  not  keep  your-self     a  -  loof, 

2.  Pret  -  ty    pig  -  eon  white  and  gray,Let     me  feed  you,  dear,  I    pray, 


m 


rallentando 


^ 


-^^ 


Ev  -  er    walk-ing    to    and  fro,    Ver  -   y    state  -  ly,  ver  -  y    slow. 
On     my  shoul-der  you  may  stand,Crumbs  I'll  give  you  in    my  hand. 


37 


^ 


^ 


]  ip2  ^^l 


Interval 
5 


ii 


^=t 


1=1  193 


RAm 


m 


Abbie  Farwell  Brown 
Animato 


N.  S.  Chase 


%m. 


» 


^^ 


194 


* 


1.  Rain,      rain,        rain  1    With  my   face  a- gainst  the  pane,       See  the 

2.  Rain  -  drops,      why       Do  you   tum-ble  from  the  sky?     When,0 


t 


7> — W 


X=^ 


^ 


ffi^ 


lit  -  tie  rain-drops  fly,         Flur-ry,  skur- ry,  swift- ly     by;       Slip  and 
lit  -  tie  rain-drops,when     Will  you  let    me   out    a  -  gain  ?   You're  de 

9 


^2. 


slid  -  ing,  drip  and   glid  -  ing.    In      a      nev  -  er    end  -  ing    train, 
lay  -  ing     all     my    play -ing.  Tell   me,  rain-drops,  tell    me     why  I 


W^=^^=r^F=f 


S 


^ 


,^^  Slur. 
195  Interval 
1-6 


NEVER  SAY  FAIL 


m 


Allegretto 


g=^ 


'P      0 


196 


t=^ 


■^—^ 


tf 


1 .  Keep  try  -  ing,        'tis     wis-er         Than  sit- ting  a -side        And 

2.  In  fight-ing        life's  bat-tie.        They  on -ly  pre-vail        Who 

9 


^EE^ 


^^ 


-&- 


dream  -  ing   and  sigh     -     ing   And  wait  -  ing        the      tide. 
dai    -      ly  march  on     -      ward  And,  nev  -  er         say      fail. 


38 


THE  TELEPHONE 


Abbie  Farwell  Brown 
Anitnato 


Frederic  Field  Bullard 


^ 


^ 


t 


J. 


"  I    want  to  talk  with  Clover-bloom  "  said  Buttercup  one  day  ;       "  I 
Now  Mis  -  ter  Spi  -  der  heard  her  speak,  As  he  was  passing  by ;      "  I'll 
So    then  he  climbed  the  lad-der  stem,  And  then  he  spun  a  thread       A  - 
A     slen-der  silk  -  en  wire  it    was  1  Now  Buttercup  is   gay,         For 

9 


n'E^EEf. 


^ 


i 


m 


II 


wish  there  were    'a      tel   -  e  -phone,  She  lives   so    far     a  -  way  1 

build  for    you     a      tel   -  e  -phone.  If     you  will    let    me    try  1 

bove  the   dais  -ies, — how  they  stared  ! — Above  the  grass-es'  head. 

she    can   talk  with  Clo-ver-bloom  The   live-long  sum-mer  day. 

/  P 


Heigh  - 

Heigh  - 

Heigh  - 

Heigh  - 


ol 
ol 
ol 
ol 


Heigh 
Heigh 
Heigh 
Heigh 


ol 
ol 
ol 
ol 


I 
An 
To 

I 


^^ 


g 


^ 


have    so 

ar  -  chi  - 
Clo  -  ver's 
can't  tell 


much  to 
tect  am 
house  it 
what  they 


say, 

I, 

led, 
say, 


I  have    so  much  to  say  1  " 

An  ar  -  chi  -  tect   am  I !  " 

To  Clo  -  ver's  house  it  led  1 

I  can't  tell  what  they  say  1 


Tie  ig8 


i 


p^ 


199 


^ig 


p=* 


g^j?  * p2. 


^ 


Interval 
6-2 


200 


m 


mm 


g 


^ 


Interval 
2-7 


201 


it 


g 


^ 


m 


HOW  THE  WINDS   BLOW 


39 


i 


Ife 


Allegretto 


T.  E.  MORRELL 


^^ 


-m W 


202 


I.  High     and     low      the     sum-mer  winds  blow  1  They  dance   and 
j;  2.  High     and     low      the     sum-mer  winds  blow  I  They  take      the 


i^ 


=S^==F 


^E=^- 


E 


2=: 


\ 1 4- 


P 


play  with  the      gar    -    den  flow'rs,  And  bend     the   grass  -  es     and 
kites  that  the      boys      have  made,    And  bear     them  high    up      in 
9 


tfi^^ 


^ 


i 


i 


yel   -   low      grain ;  They     rock       the   bird     in      her     hang  -  ing 
to        the       air ;       They     snatch   the     lit  -  tie     girls'  hats        a  - 


m 


^ 


i 


i 


-«S'- 


nest,    And    dash      the     rain     on     the      win   -   dow   pane, 
way,    And     toss      and     tan  -  gle   their    flow  -    ing     hair  1 


ih 


fM^^^ 


s 


w^^r^^^^^ 


203 


Interval 
8-3 


:|A 


eiff^^^fj^si^m^iJJuuJrijp 


204 


STARS 


Anonymous 
,,   M     Andaniino 


Julius  Andre 


Sl^B^ 


^ 


:^=j^ 


205 


1.  The    stars    are    ti  -  ny      dai  -  sies  high,  —  Op-'ning  and  shut  -  ting 

2.  And    dai-   sies  are   the     stars    be -low, — T  wink-ling  and  spark-ling 


as 


the    sky,  Op  -  'ning  and    shut  -  ting     in  the    sky. 

they  grow,      Twink-ling  and    spark  -  ling     as         they  grow. 


40 


206 


u. 


^^ 


i^P 


S 


'■r.'^m 


ip»sfgg^g£at-^^%^ 


k  ^  * 


208 


REASONING  TOGETHER 


A//e, 


5^ 


-•— ^ 


1.  If  I  had  candy  and  you  had  none,Don't  you  think  'twould  be  lots  of  fun,If 

2.  Now  you  have  pennies  and  I  have  none,There's  an  apple,a  splendid  one;  So 


^ 


& 


^ 


m 


I  should  offer  some  candy  to  you,For  then  you  see  there'd  be  candy  for  two. 
don't  you  think  'twould  be  jolly  for  you  To  buy  that  apple  and  cut  it   in  two  ? 


2og 


m 


u  Con  grazia 


iS; 


\  0^ 


^ 


LITTLE  BO-PEEP 

9 


^ 


^ 


J.  W.  Elliott 


J 


1.  Lit-  tie  Bo-peep  has  lost  her  sheep,  And  can't  tell  where  to  find  them  ; 

2.  Lit-  tie  Bo-peep  fell  fast  a-sleep, And  dreamed  she  heard  them  bleating  ; 

3.  Then  up  she  took  her  little  crook, Determined  she  would  find  them  ; 


n 


W=^ 


-4-4 


i 


^ 


Leave  them  alone  and  they'll  come  home,  Wagging  their  tails  behind  them. 
When  she  awoke  'twas  all  a  joke,  Ah,cru  -el  vi  -  sion  fleet  -  ing. 
What  was  her  joy  to  see  them  nigh, Wagging  their  tails     be-hind  them. 


210 


WHEN  THE  DAY  IS  NEARLY  DONE 


Gabriel  Setoun 
)x  Andante 

m 


F.  Remsen 


I^ 


i 


1.  When  the   day    is   near-ly  done.  And  the  birds  have  gone  to     rest, 

2.  So   she  climbs  up- on     a    chair,  Gaz-es    out  with  round,blue  eyes, 


%E^E^- 


i 


12. 


Ma -bel  likes  to     see   the    sun  —    In    the  gold- en    west. 
With  the   sun -light   on   her    hair — Gold -en     as   the    skies. 


Chapter  IX 


41 


m 


p^ 


KEY   OF   A-FLAT 
6 


JS-^ 


"^^m 


211 


is: 


^^<&- 


G>  ^   V^ 


^m 


^ 


? 


Phrase 


^ 1  212  mark 


g^fe^3^^^ 


f-—M. 


m 


t 


-0 0- 


fclJ2I3 


1.  Mur-m'ring  soft  the  breezes  blow,     Lul-  la  -bies  they  whisper  low. 

2.  O'er  the  house-tops,out  of  sight,  Swal-lows  wing  their  homeward  flight. 


^^g7~r  [Tn^-^^-^^^  ir  ^  I"'  I-'  9 


jl  214 


Slur. 
Intervals 

5-3 

2-5 

5-1 

3-1 


tj  ^  ^  ^ 


ffiaiE^g^pgBf^g=i3^i^^^a 


Intervals 

215  4-1 
7-2 

Intervals 
2-4 

216  5-7 
2-5 
5-1 


DAYS  OF  SPRING 


M.  E.  TuppER 
Animato 


± 


15 


:4: 


;3EEg 


-j=t.t 


t 


^^fe^ 


2z: 


i 


fers 


1.  Out     a-mongthe   daf-fo-dils.       In   the  hap  -  py     spring; 

2.  Out     a-mongthe   but  -  ter  -  cups.      In   the  mer  -  ry     May,     . 

3.  Laugh-ing  just  for    ver  -  y    glee,     Glad  at    ev  - 'ry     thing;  . 


Eg 


-^ 


z^ 


^ 


2^ 


Run  -  ning  up  and  down  the  hills,While  the  rob  -  ins  sing.  .  . 
Nev  -  er  once  our  danc-ing  stops,  All  the  live-long  day.  .  . 
Days  are  sweet  as  days  can    be,       In   the     hap  -  py      spring.    , 


217 


Breath 
mark 


42 


Repeat. 

First  and  ^-o 
second  ^lo 
endings 


^ 


fea 


-w=t 


m 


=?*=^ 


r- 


i^l 


Intervals 
6-3       219 
2-6 


g 


teEi 


ee 


-2^ 


i 


Moderato 


B3; 


4=4: 


THE  STAR 

_     9 


German  Folk  Song 


^ 


220 


m. 


^ 


1.  Lit  -  tie  star   so   high,so    high,     Shin-  ing    in    the  deep  blue  sky,- 

2.  When  the  gold -en    day  is     done,     And  the  night  is     just  be  -  gun,- 

3.  Lit  -  tie    star   so  high,  so    high.     Shin- ing   in    the    far-off    sky,- 

^ — 1  9 


fcg: 


1=4: 


^ 


^ 


z:^ 


Lit  -  tie  star  so  far,  so  far.  Who  can  tell  me  what  you  are  ? 
Then  I  wait  and  watch  for  you,  As  you  twin-kle  thro'  the  blue. 
Sil  -  ver  star,    I     love  you  true.     And   to  -  night  I'll  dream  of  you. 


Intervals 
5-5       221 
5-4 
5-3 

Intervals 

III    ... 
+-2 


S 


^M=f=f^^^^SS^^^^^m 


WELCOME  MAY 


T.  D.  Miller 

Allegro  moderato 


s 


H.  L.  Bemis 


^f^^ 


223 


^- 


^ 


1.  Wel-come,wel-come,love  -  ly  May,  Breath  so  sweet  and  smiles  so   gay; 

2.  Wel-come,  vio  -  lets,  sweet  and  blue,Drinking  cups  of  morn  -  ing   dew ; 


f~ 


-^ 


t=F 


Xr- 


^ 


12^ 


Sun  and   dew   and   gen  -  tie   show'rs,  Wel-come, month  of  flow'rs. 
Wel-come,lambs  so     full    of    glee,        Wel-come,bus  -  y      bee. 


MORNING  SONG 


43 


p 


ij^ 


Allegro  moderato 


Margaret  Ruthven  Lang 


Ai 


^ 


^- 


^ 


i 


224 


6:1 


1.  The  sun     is       in      the   east,     And  night  has  pass'd  a  -  way;       The 

2.  The  flow -ers      in      the  field      Are  shin- ing    in     the     sun,       And 

9 


s: 


:*=-J 


1^ 


rob  -  ins    sing  their  morn-ing     song,      Ea  -  ger      for     the     day. 
Ut  -  tie    chil  -  dren  wake  from  sleep,  Glad  that    day's  be  -  gun. 


EVENING 


g 


S.  Baring-Gould 
Andante 


F.  Remsen 


s 


^ 


:J: 


^t=F 


22; 


?^ 


t=F 


225 


1.  Now   the     day      is       o     -      ver,  Night     is     draw -ing     nigh, 

2.  Thro'  the     long  night   watch  -  es.     May    the     an  -  gels  spread 


g 


^^ 


^^ 


BEE 


:^ 


^ 


i 


'■t- 


Shad  -  ows     of       the      eve    -     ning.    Steal   a  -  cross  the      sky. 
Their  white  wings   a    -    bove       us,      Watch-ing  round  each    bed. 


■^m. 


^s^^ 


226  Tie 


^i 


^ 


^=1= 


^-»>- 


227 


John  G.  Watts 
Adagio 


AT  SUNSET 


Frederic  Field  Bullard 


± 


S^ 


^El^^=X 


^•t^l 


g 


a&^t: 


t 


^ 


:^2= 


228 


g? 


1.  Soft  -    ly  sighs  the  eve-ning  breeze,Thro' the  leaf -y    chestnut  trees  ; 

2.  Flow'rs  that  when  the   sun      a  -  rose  Ope'd  to  life,  now  soft  -  ly  close  ; 


p 


-^ 


i 


Lit    -  tie    birds  from  rock-ing  spray  Sing  their  hymns  to  part-ing  day. 
As         a     lit  -    tie    bird   at  rest,     Ba  -  by  sleeps  on  moth-er's  breast 


44 


Intervals 
6-4       2  29 
1-6  ^ 


#g?Eaagjg=gFFifffffm^gga 


0  MOON  IN  THE   NIGHT 


Jean  Ingelow 

Moderato 
Q— h-t  ^       — ^ 

1 — I— ^ — 1 1 — 1 

1 H 1 

T.  E.  MORRELL 

9 

230 

rThi^-^ 

-m * i— 

~d — J — ^"- 

-1~J — ^~ 

1          1      * 

5^2-^4: 

_^ — d — J_ 

-J—*-  J- 

1            — ^-Ji^H 

«- 

Y~ — =*-#^ 

L*^^ « — 1 

L^__J__J_L^___4 1 

1.  O  moon,  in   the  night  I    have  seen   you  sail-ing  And  shining  so 

2.  Youmoon,have  you  done  something  wrong  in  heav-en,  That  God    has 
9 


^^=^ 


:fe^ 


?= 


f 


i 


^ 


round  and     so       low;  . 
hid  -  den   your     face  ? 
9 


You  were    bright !  Ah,bright !  but  your 
If     you     have        I     hope    you   will 


^^S^ 


JY-'i 


? 


J=3i 


w — .-=■ 


light      is     fail  -  ing,  You're  noth  -  ing   now  but      a       bow. 
be        for  -  giv  -  en,    And    shine      a  -  gain    in     your   place. 


'3-^gS^BE£a 


I^^^^S 


^ 


Intervals 
3- 
5-3 


r^3.^s^^^ 


^^p 


Nathan  Haskell  Dole 
Andantino 


'33g^E^^^ 


SUMMER  CLOUDS 


C.  Eppstein 


X=- 


^^ 


^c^ 


i 


1.  High    a  -bove  us    slow  -  ly    sail  -  ing.  Lit  -tie  clouds  so  soft  and  white, 

2.  When  the  sum-mer  sun      is   shin -ing,  And  the  sky     is    blue   a  -  bove, 

9 


You  are  like  the  wings  of    an  -  gels,Watching  o'er     us  day  and  night. 
Then  you  look  at    us      and  send  us    Ra  -  diant  smiles  of  joy  and  love. 


45 


^^t:t:rj::Ep^i,^^r^U  f-  r.  n^^ 


234 


^^'r.  C  C  C  I  /^.,^i^b^^.^^,b^:^:^  .35  -- 


THE  SWING 


^ 


Robert  Louis  Stevenson 
Allegro 


M.  White 


fea 


^ 


-1*-^-^- 


S 


i^cil^ 


236 


^ 


sf 


t=t 


1 .  How  do  you  like  to    go   up   in   a  swing,Up  in  the  air      so    blue  ? 

2 .  Till    I   look  down  on  the  garden  so  green,  Down  on  the  roof  so  brown  — 

9 


fc5 


S 


m 


fczC 


S^ 


^ 


Ohl    I    do  think  it  the  pleas-ant-est  thing, Ev  -  er    a    child  can  do. 
Up    in  the  air     I    go    fly  -  ing  a  -  gain,  Up  in  the  air     and  down. 

9    _    _    _  ,       ,  9 


^jig-g-^g-r-;ff7^CT4^c  r  rJ  -^^ 


^ 


^^=t2 


gs 


Up  in  the  air  and  o-verthe  wall,Till  I  can  see  so  wide.  Rivers  and  trees  and 
9  ^-  f 


^^^. 


^ 


^^.^^3^:..^^ 


t=4 


cat-tie  and  all,    O-  ver  the   coun-try  side,        O-ver  the  country  side. 


MORNING  GLORIES 


Abb  IE  Farwell  Brown 
Moderato 


a 


^- 


^ 


Henry  Holden  Huss 
9 


237 


a: 


1.  Be- fore    I      o  -  pen  drowsy  eyes,The  lit-  tie  morning  glo-ries  rise,To 

2.  They  long  to  reach  the  top  and  find  What  sights  are  hidden  there  behind ;  But 

3.  They  wake  so  ear- ly    in    the  day,  That  as  the  morning  wears  away.  They 

4.  Their  heads  begin  to  nod  and  swing, They  cannot  climb,they  cannotcling ;A- 


^ 


^^f=w- 


t 


t=t: 


? 


t 


climb  their  lad-ders  green  and  tall,That  lean  up  -  on  the  gar  -  den  wall. 

nev  -er    one  can  climb  so  high,They  al-ways  fail  and  this      is  why. 

droop  all  sleep  -  y  -  eyed,  you  see ;  I    know  it      is  the  same  with  me. 

sleep  they  tum-ble    off,    and  then  They  must  be-gin  to  climb    a -gain. 

^  From  "A  Child's  Garden  of  Verses,"  published  by  Charles  Scribner's  Sons. 


PART  II 

RHYTHMIC  TYPE,  TWO  EIGHTH  NOTES  TO  THE  BEAT;  RHYTHMIC 
FIGURE,  DOTTED   QUARTER  NOTE  AND   EIGHTH  NOTE 


Chapter    I 

THE   RHYTHMIC   FIGURE    ^- 


Rhjrthmic 

figures 

compared 


238 


f 


n  n 


239 


240 


^g 


^^=^=^=^ 


t=t 


-^ — ^ 


^^iff^^JS^f^^FF^SlE^gp 


fe3=P^^g4F^^^faa#j^Liiiai^P 


241 


i 


?ii=^ 


^ 


m 


"MVsrl!?- 


:^2: 


ffii^ 


^^"^T^ 


35^5EEEZ 


it^rr 


w ^-0- 


i 


as 


242 


K^ 


t 


1=t: 


^ 


-«l ^ ^#-^ 

1.  Thro' the  dusky  window  pane,oh,see  1       Jack  O'Lantern's  looking  in  at     me  ! 

2 .  I'm  not  f  rightenedjfor  I  know  full  well      Father  made  himfrom  a  pumpkin  shell  1 


g 


^te? 


243 


:2: 


m 


i 


S' 


P^u^ 


*44^=^F^ 


3^^^^^ 


,^=F 


S^ 


^ 


^ 


245 


a 


^i 


?t:^ 


=?=Fi= 


-^- 


46 


AUTUMN  LEAVES 


47 


m 


Moderato 


—      J        -  246 


1.  The       leaves     that       all      the    gold  -  en     sum  -  mer     long     Have 

2.  ''Good  -  bye,       good  -  bye     to      you,     O     moth  -  er       dear,"  Each 


i 


^gpi 


i\=ML 


^ 


XT      w ^ ^         g-;- 

rus  -  tied    in    each  pass  -  ing  breeze,         All     clad     in  gowns  of    crim-son, 
one    in  part-ing  seems   to      say,        "We've  swung  all     sum-mer  on  your 

9 


i^ 


s 


gold,and  brown.  Now  one   by    one  are  fall  -  ing  from  the    trees, 
branch-es    strong, But     no w, when  au-tumn  comes, we  fly      a  -   way." 


i 


^^ 


247 


ws^ 


i 


W 


^ 


-fE^- 


248 


FANCIES 


^ 

"M-^- 


Frank  Dempster  Sherman 
Con  espressione 


George  A.  Veazie 


^ 


249 


1.  At     eve  -  nmg  when  I      go     to     bed,      I      see    the  stars  shine  o  -  ver - 

2.  And    of-   ten  while  I'm  dreaming  so,        A  -  cross  the    sky  the  moon  will 

3.  For  when    at    morn-ing     I      a  -  rise,There's  not     a      star  left  in   the 


i 


s 


^ 


head ;  They        are 

go ;  She  is 

skies ;  She's      picked 


^^m 


the 
a 
them 
9 


lit  -  tie  dai  -  sies  white.  That 
la  -  dy  sweet  and  fair.  Who 
all       and  dropped  them  down,There 


:^!!=^ 


^ 


dot  the  mead-ow 
comes  to   gath-er 
in    the  mead-ow 


^ 


of    thenight,Thatdotthe  mead-ow   of       the      night. 

dai  -  sies  there,  Who  comes  to  gath-er    dai  -  sies     there. 

of   the  town,There  in  the  mead-ow   of       the      town. 


48 


THE  GOLDEN  ROD 


Celia  Standish 
n  Allegretto 


Karl  Glasbr 

9 


J— J-^     >    J^ 


i 


250 


-#-r- 


1.  One     bright   au  -  tumn  day,     a       ray        of 

2.  When    next    morn-ing  came  the    gold  -   en 


sun-shine  From  his 
sun-shine,  There    a  - 


i 


fe?=it 


i 


i 


3^ 


broth  -  er      sun-beams  stole    a  -   way  ; 
long    the    road    be  -  neath  the    trees, 


Gai  -  ly   did    he     frol  -    ic, 
Cloth-ing    all    the  way  -   side 


^ 


^^ 


danc-ing  o'er   the  mead-ow,Laugh'd  and  play'd  throughout  the  autumn  day. 
with  the  sun's  own  splen-dor.  Gold-en    rod  sway'd  in    the  laughing  breeze. 


FRIENDS 


251 


Abbie  Farwell  Brown 
n         Allegretto 


Henry  K.  Hadley 


i 


m 


B 


^ 


1.  How  good     to        lie 

2.  The    wind  comes  steal 

9 


mg 


lit  -   tie    while  And     look       up 
o'er    the    grass.  To       whis  -  per 


s 


a.       # 


W- 


i 


through  the    tree !  .  .  .     The     sky      is 
pret  -  ty     things, .  .     And  though  I 


like       a         kind  -  ly    smile, Bent 
can  -    not      see    him  pass,    I 


.t=tS 


t 


i 


sweet  -  ly  o  -  ver     me.  .  .      The    sun  -    shine  flick  -  ers  thro'  the 

feel       his      care-ful      wings.         So    ma    -    ny       gen  -  tie  friends  are 
9  .  .     9  _ 


^ 


^ 


lace    of       leaves  a    -   bove    my       head,  .      And   finds    in       ev  -  'ry 
near,whom  we        can   scarce  -  ly        see,  .  .       A      child  should  nev  -  er 


#-^^F^^ 


1 


hid  -    ing     place.  The      ap  -  pies    all       so  round  and      red. 
feel       a         fear,  Wher  -  ev  -  er      he      may  chance  to        be. 


49 


^ 


?=1: 


^ 


252 


253 


254 


^ 


-^ 


J-Im     CfTf^S 


^ 


m 


1^ a 


m 
11^ 


*l]   256 


EVENING  ON  THE  LAKE 


Nathan  Haskell  Dole 
Andantino 


French  Folk  Tune 


^E^^^^^ 


t 


S 


257 


m. 


1.  On   wide  wings   of       shad  -  ow  Queen  Night  reigns  on     high;       Like 

2.  The  moon  glan  -  ces   bright -ly      A -cross   our       wide  lake,         Our 


, jt         I.    On   w 
IB        2.  Them( 


m 


s^ 


-^— ^ 


■-^     ^      ^    \Z^ 


I        I        I 


fiow'rson      a       mead-ow,Bright  stars  gem  the   sky;  Ah,love-ly  scene, 

boat  dan  -  ces     light-  ly,  On  waves  that   we    make.         Hark  1  not  a  sound, 


i 


^^ 


5 


^^ 


e 


A       0 


m 


m — w 


calm  and  se-  rene  !  No  breath  stirs  the       wa   -  ters,  All  dreaming  they  lie  1 
wide  miles  a- round, The  deep  peaceful       si    -    lence  Of   eve-ning  to  break. 


50 


Chapter  II 

THE   RHYTHMIC    FIGURE       J     JH 


258 


Rhsrthmic 

figures 

compared 


259 


260 


^^^^^^M 


# — # 


3 


fe:^^^-J%-fr^z^fd:^^Jt±JH^ggl 


g 


^ 


^     !»» 


t=y: 


5^ 


^^ 


5 


j^^^^^^^EgEj^afe-^SE^^a 


Herold 
From  the  Opera  Comique  "  Zampa  " 


s 


i 


ft 


^Si 


262 


^ 


^ 


-n—f-d- 


t¥=^ 


(   Pa-tient  stars  that  watch  a  -  bove  us,  (  May  we  learn  to      be    like  you, 
(  Guides  to  lead  us,friends  to  love  us,  (  Faithful,strong,o  -  be  -  dient,true  1 


263 


^^^^i^^l^fe^^SI 


^'«i^S^^ 


'^^i. 


p^^^ia 


265 


^^^^-X-tBrn^^^^S^^^^^^^j 


SI 


bi*r    ^ — I u 


^4^ 


i^ 


i^5^3l^i^a33Ea^s?^ff^:^^ 


^ 


*=ti: 


S 


^ 


I 


268 


:?at 


THE    WIND' 


Robert  Louis  Stevenson.    Adapted 
Con  moto    — -- 


Frederic  Field  Bullard 


i# 


W=^- 


^^3S5Egir-"^i^^^f^^^jg^^Sgl  ^'^ 


1.  I     saw      you    toss   the    kites    on    high,  And  blow     the    birds  a 

2.  I     saw      the      dif-f'rent  things  you     did,    But     al   -    ways  you    your- 

3.  O    you      that    are     so    strong  and    cold,  Pray  tell       me,     are    you 


cres. 


^ 


f! 


S 


S 


U 


^ 


w. 


$ 


cross  the  sky ; 

self  you  hid ; 

young  or  old  ? 
dim. 


b— ^H*— ^-^ 


And     all       a  -  round 
I  felt     you   push, 

A         beast  of      field, 

f7\    9 


I        heard  you     pass,  Like 
I        heard  you      call,      I 
A        bird      of       sky.     Or 


i 


n 


^r^^ 


ti 


la    -     dies'  skirts    a  -   cross   the    grass, 
could  not      see    your  -  self      at        all. 
just      a        stron  -  ger    child  than      I  ? 


O  wind  a  -  blow  -  ing 
O  wind  a  -  blow  -  ing 
O         wind    a   -  blow  -  ing 


:i 


^ 


tE^ 


Siit 


wn 


all      day    long,     O      wind    that    sings 

9    -==: 


so     loud     a       song  I     O 
/ 


wind  a- blow- ing     all  day  long,  O      wind  that  sings  so  loud     a     song  I 


^  From  "A  Child's  Garden  of  Verses,"  published  by  Charles  Scribner's  Sons, 


52 


ON  THE  TRAIN 


270 


*i 


Celia  Standish 
Allegro 


J.  F.  Reichardt.     Adapted 


^^^^^ 


3t=^ 


i^ 


1.  Chook  -  a  -  choo  !  chook-a  -  choo  !    we    are     start  -  ing  ;     By     the 

2.  Chook-a  -  choo  1  chook  -  a  -  choo  1    ev  -  er       go    -  ing;     Ev  -  er 


^^^^^i^i.,=s^,M^^,^^^ 


:feE 


peo  -  pie  and  hous  -  es    we    dash  ;        Till  the    town  lies    far,   far  be 
hur  -  ry  -  ing  mile    af  -  ter    mile  1       Till   we   reach  the   end     of  our 


i 


:^^3 


1^ 


% 


5 


^^— ^- 


hind      us,      Then  a  -  way  through  the  fields    like      a     flash  I 
jour  -  ney,  Where  the     en  -  gine  may   rest       for      a  -  while  1 


0  TINY  BOAT 


Katherine  Ruth  Heyman 
Con  grazia 


Katherine  Ruth  Heyman 

9 


271 


l^-l^ 


1.  O      ti  -  ny  boat  on    a      ti  -  ny  sea,    A -float -ing,    float  -  ing,  How 

2.  O      ti  -  ny  boat  that  so  far      a -way  Is      go  -  ing,    go  -  ing,     O 


i 


% 


^ 


t= 


^ 


1^=^ 


m 


m 


ti  -  ny     a  maid  -  en  would  have  to      be,     In      you    to    go  boat  -  ing, 
take  me     a  -  sail  -  ing  with  you,    I       pray,While  mer  -  ry  the  breeze  is 

9  9 


S 


boat    -    ing.    Your  sails     are      set 
blow   -    ing.     But       I     should  like 


all      so  clean  and  white, You 
to  come  home  once  more.And 


»-^ 


^i 


3EE! 


^=::^ 


:t=t 


1^ KT H 1 1 U. 1 

sail     as    well  though  the  wind    be    light,   O      ti  -    ny    boat,  o'er  the 
moor  my    boat      to    the  self  -  same  shore,  O      ti  -   ny    boat,bring  me 


fe^: 


'V" 


^ 


3=t 


:2^ 


spark  -  ling   tide  May  you    safe 
homCj    I      pray.  And  it's 


ly        ride. 


here       I'll     stay. 


i 


^^f 


at* 


53 

11 


272 


m 


h=p^ 


a 


^s^^i 


r^^f\^^=^^^n^n 


^^^^^^^^^^^^^^'^ 


fl^^g^^i^^S^ 


275 


^s^M^H^gg^^^^^^jjtj^i 


THE  FOUNTAIN 


James  Russell  Lowell 
M       Grazioso 


J.  M.  McLaughlin 


EM 


^ 


^^^^^^^^76 


1.  In  -   to        the    sun  -  shine,Full     of        the       light,    Leap -ing  and 

2.  Glad  of       all    weath-ers,  Still     seem  -  ing       best,    Up  -  ward  or 


^^ 


i 


^^^^ 


^ 


flash  -  ing    from    morn         till       night ;      In  -   to      the   moon  -  light, 
down     -     ward,  mo  -  tion    thy        rest ;      Glo  -  ri   -  ous    foun  -  tain, 


i 


lE^ 


^^ 


<iT,>^ 


^ 


w 


Whit  -  er  than   snow,      Wav  -  ing    so       flow'r-like  When  the  winds  blow. 
Let  my  heart  be  .   .    Fresh,changeful,  con  -  stant,  Up  -  ward,like  thee  I 


54 


Chapter   III 

THE   RHYTHMIC   FIGURE     .JTJ—J- 


277 


Rhythmic 

figures 

compared 


278 


279 


m 


w=*f 


'W=^- 


t=f: 


m 


-tt-^ 


a^z* 


at* 


^^:#=^^P 


k^=± 


'W       W 


I         i/l^l^ 


]^i4— r«^4^ 


^^EQEE^^i^^i 


iS^ 


i 


280 


>j|;Fgf=^Etegig5feamM^^4^ 


1.  Come away,come  away,come  away,children;Here's  a  day  all  for  play,come away! 

2.  Skip  and  run,have  your  fun,ev'ry  one  merry;  Glad  and  gay  all  theday,comeawayl 


281  :3£g^_|sM_^ 


5^a 


S 


^c|l^ 


itit^ii^ 


^ 


^=^^T#^ 


Nff^l^ 


^^ 


i^^F-r^^^^^^^^^^^#^3^ 


283 


284  bgt^^ 


^^ 


-(•■ 0~ 


^^r-lrrrfl 


55 


S 


-4=j-[=j: 


-^-F^t^ 


e^fcia-jjjgij] 


285 


* 


JS=p*l^ 


#■— FP^ 


^^ 


286 


FAIRY  JEWELS 


S^ 


Frank  Dempster  Sherman 
Andante  con  grazia 


Frederic  Field  Bullard 
9 


-»—f- 


f- 


e^=?=ii 


287 


1.  O  white    moon      sail   -  ing  down      the       sky,         I 

2.  Each       star       that       shines   for  me  so       bright,    For 


ffi^ 


s 


£E 


g 


watch  you  when    in        bed      I      lie ;      I        watch  you      on      the 
you       is     just      a         bea  -  con    light ;    I        half      be   -   lieve  that 


;r=- 


^=3^ 


calm    blue    deep,  And     dream  of       you   when  fast        a  -  sleep.    I 
it         is       you     Who    brings  to        us       the   morn  -  ing     dew.  Each 


^^ 


fan 
drop 


cy 
is 


as 
so 


I 
much 


see 
like 


you 
a 


float,     That 
gem,         I 


t: 


i 


g^--^^ 


you      are    some  good     fai  -  ry's    boat,  And   winds  that     in        my 
think    the     fai  -     ry     gath  -  ers    them,  And,  lean  -  ing     o    -     ver 


5^ 


i 


^ 


^^ 


win  -  dows  blow    Are        the      same  winds   that    make     you      go. 
as      you     pass,   She       scat  -  ters    them      up    -   on       the     grass. 


56 


GOOD  NIGHT 


i 


Lord  Houghton 
Allegretto 


:fefr 


^ 


288 


^=F 


^ 


1.  A         fair       lit  -   tie      girl        sat 

2.  A        num  -  ber      of    crows    flew 

3.  The      hors  -  es      and      ox    -    en, 


un    -  der       a      tree, 

o   -  ver     her    head, 

free    from    the    load, 


H*=H«=^ 


^ 


-h— N- 


^^i£=M-=X 


s    s 


i 


M 


Sew-ing    as    long   as  her  eyes  could  see,Then  smoothed  out  her  work  and 
Cry-ing"Caw!Caw!"ontheirway  to    bed  ;  She   said  as  she  watched  their 
And  the  sheep  bleat-ing  a -cross  the  road.  All  ech  -  oed  her  words  with 
9  ^^        piu  lento 


i 


? 


^ 


fold-ed  it  right.  And  said  "Dear  work  1  Good-night  1  Good  -  night." 
cu-  ri  -  ous  flight,  "O  dear  black  things!  Good-night  I  Good  -  night." 
qui-et     de  -  light," You  dear  good   girl  1     Good-night  1  Good  -  night." 


289 


290 


291 


P^ 


-^— j-^ 


m 


1^ 


t 


r^t^r^^ 


t=4c 


^±. 


y 


i 


& 


^ 


i^ 


P^^ 


i 


u 


^1 


292 


m^ 


^ 


$ 


w 


Frank  Dempster  Sherman 
Con  grazia 


IN    SHADOWTOWN 


^ 


J.  M.  McLaughlin 


293 


B 


^- 


^ 


1 .  All    up    and  down  in    shad-  ow-  town  The    lit  -  tie  shad-ow  chil-dren 

2.  Be-neath  the   tree  you     oft  -  en   see  These  chil-dren  dancing  in   and 


57 


i 


^_J1.J-^^ 


go  ;      In     ev-'ry  street  you're  sure  to  meet  These  children  running  to  and 
out ;    And   in  the  sun  there's   al-ways  one  To  close-ly    fol  -  low  you    a  - 


^ 


^ 


fro.         They     move    a  -  round     with  -  out       a      sound,    With 
bout.  Go      where  you    will,         he        fol  -  lows     still.       He 


^m 


^^ 


^ 


W 


out     a  sound  they  play  at     hide  and  seek ;  But      no   one   yet     that 
fol  -  lows  still,  or   sometimes  runs  be  -  fore  ;  And  home  at   last    you'll 


^  9 


rtt. 


m 


^ 


i: 


^m 


I      have   met.      Has       ev    -   er,      ev   -  er     heard  them   speak, 
find     him    fast     Right   close      be  -  side   you      at       the     door. 


William  Allingham 
Moderato 


U- 


'm 


t 


GOOD-BY  TO  SUMMER 

9 


George  A.  Veazie 


i 


t^ 


^: 


294 


1.  Good-by,good-by 

2.  Bright  yel-low,  red, 


to    sum  -  mer  1  For  summer's  near-ly   done  ;  The 
and     or  -  ange,  The  leaves  come  down  in  hosts ;  The 


l-l 


m 


t 


^^ 


^ 


^ 


gar- den    smil  -  ing 
trees  are    In  -  dian 


faint  -  ly.    Cool  breez-es      in       the     sun ;       Our 
prin  -  ces,    But  soon  they'll  turn    to   ghosts  ;   The 


^^^ 


^^ 


thrush-es     now   are 
scan  -  ty    pears  and 


si  -  lent,    Our  swal-lows  flown  a    -    way,      But 
ap-  pies  Hang   rus  -  set   on     the      bough;  It's 


S-tf- 


r=^ 


— \f^- 


^ 


t 


rob  -in's  here  with 
au-tumn,  au-tumn, 


^ 


^. 


coat  of  brown,  And    rud-dy  breast  knot  gay. 
au-tumn  late, 'Twill  soon   be     win  -  ter   now. 


58 


Chapter  IV 

THE   RHYTHMIC    FIGURE   -J.     '^ 


295 


Rhythmic 

figures 

compared 

1^ 


296 


297 


^^=^^^^U^f^=f^^^^^^^^^^^^^ 


298 


^^^^ 


g^4J-4J^g^^Fi^^^^l 


*te\r\ 

grb^-l PU==ri 

F=ii=?f=^ 

._.^- 

-m—. — 0~ 

-0 

-IM^->-^— 1— 

299 

5fcfc|d2r^4^- 

^-^^  ^ 

Fs=^ 

r=^ 

M^ 

^^^^^ 

300 


P^^^g^^ 


^ 


?^=1^ 


1.  Once  there  was  a    mansosmall,Hetookajourneyskywardon  a    rock-et ! 

2.  As  he  ne'er  came  down  at  all,  O-ri-on  must  have  put  him  in  his  pock-etl 


^.sjintTSff^ffTw^K^^^smm 


t 


302 


pm^^^m^^^^mmms^^m^mm 


AUTUMN  WINDS 


59 


Stella  H.  Seed.    Adapted 
Andante  con  fnoto 


^i^ 


Russian  Folk  Tune 


-^ 


£: 


t- 


303 


1.  Through   the    trees    the       au-tumn  winds  are  blow  -  ing,  Sail  -  ing   the 

2.  From     the    trees    they  shake  a    store  of  treas  -  ures,    A -corns  and 

9 


:b: 


Efc 


^ 


leaves        a  -  long   the     frost  -  y      air ;      Fields     with      life      and 
wal   -  nuts     in        a    show'r  de  -  scend ;  Breez    -   es       bring     us 


y^'^ 


^- 


^ 


beau  -  ty      sow  -  ing,   Down-y  seeds  they  scat  -  ter      ev  -  'ry  -  where, 
wood  -  land  pleas-ures,    Ev  -  'ry  wind    a    help  -  er      and       a     friend. 


(  May  be  Refrain  to  "  Autumn  Winds  " ) 


ysl^S^ 


^ 


w^^^^m 


00 


^ 


1=^ 


00 


304 


FIRE   BELLS 


Celia  Standish 
Marcato 


IS 


t 


^^ 


Chr.  Fr.  D.  Schubart 
9 


305 


1.  Cling!  Clang  1  the       fire 

2.  Cling!  Clang!  the       bells 


bells   are    ring  -  ing     clear;      O 
are    now   ring   -  ing     fast ;      To 


i 


s 


KSSg 


P 


lis  -  ten   to    their  loud  and  warn-ing  cry ; 
sum-mon  home  the  gal  -  lant  men    a  -  gain ; 


.]2=if5=]Vzi1S: 


ME? 


■li—^' 


T- 


And  when  their  clang  -  or 
For    now  they  tell     that 
9  ^ 


5 


^=x 


sud-den-ly  we  hear,The  gath'ring  crowds  rush  by  from  far  and  near.  Cling  1 
dan-ger  all    is  past,    And  safe  from  harm  is     ev  -  'ry-thing  at  last.   Cling  1 


:^=p-^ ^=j^ 


3^^ 


T^ 


^^^ 


^-^ 


Clang  !  the  en-gine  dashes  by  1     Cling  !  Clang  !  the  engine  dashes  by  f 
Clang  1  for  horses  and  for  men  I    Cling  1  Clang  1  for  horses  and  for  men  ! 


6o 


KING  BELL 


Frank  Dempster  Sherman 


After  the  old  English 


306 


y 


Giocoso 


P^ 


^ 


^^ 


1.  Long  years  a   -  go  there  lived  a  king,  A    might-y  man  and  bold,        Who 

2.  Now  both  these  sons  were  ver-y  dear  To    Bell,the  might-y  King  ;      They 

3.  O  -  be  -  dient  was  each  roy-  al  prince,  As  we  have  tried  to  show,      And 


feii 


m 


i^^Sa 


-^ #-P 


^ 


:^ 


i 


tt 


had   two  sons  named  Dong  and  Ding,Of  whom  this  tale  is     told.     Prince 
al  -  ways  has  -  tened  to    ap  -  pear,When  he   for  them  would  ring.  Ding 
all   their  kin  -  dred   ev  -  er   since  Have  been  ex  -  act  -  ly    so.  And 

f 


i 


SS 


^ 


m 


Ding  was  clear  of  voice  and  tall,    A  prince  in  ev  -  'ry      line  ;  His 

nev  -  er  failed  the  first   to     be.  But  Dong  he  fol  -  lowed  well,  And 

if     you  chance  to  know  a   king  Like  this  one  of     the     song.  Just 

P 


«te 


3 


s 


p§ 


fetTfehS 


broth-er  Dong  was  ver-y  small.  His  voice  was  thin  and  fine.  Ding 
at  the  sec-ond  sum-mons,he  Re-spond-ed  to  King  Bell.  Ding 
lis  -   ten   once  and  there  is    Ding,  A  -  gain,and there  is  Dong,       Ding 


i 


y 


» 


t- 


m. 


Z2I1 


dong,ding,dong,ding,dong,ding,dong !  His  voice  was  thin  and  fine.  . 
dong,ding,dong,ding,dong,ding,dong  1  Responded  to  King  Bell.  . 
dong,ding,dong,ding,dong,ding,dongl  And  there  are  Ding  and  Dong. 


WHITE  BITS  OF  DOWN 


6l 


Mary  Vaughan 
Andante 


Russian  Folk  Tune 


fefes 


-m 


^^m. 


310 


1.  White  bits  of  down,borneslowonthebreeze,Nowfloattotheirresting-place 

2.  Sto  -  ry  more  strange  has  nev-er  been  told,Than  that  of  the  won-der-ful 

3.  Safe-ly   each  bears  a    pack-et   so  small, But  from  it     a  plant  comes  at 


%i\ 


t 


m 


'neaththe  tall  trees, Now  float  to  their  rest-ing  place 'neath  the  tall  trees. 

treasures  they  hold,Thanthat  of     the  won-der  -  ful  treasures  they  hold. 

A-pril'slow  call,     But  from  it       a  plant  comes  at    A-pril's  low  call. 


fe- 


i 


E^ig^i^ 


311 


Lydia  Maria  Child 

TO 


THANKSGIVING  SONG 


George  A.  Veazie 


« 


t 


^ 


^ 


312 


I.  O  -  ver  the    riv  -   er    and  thro'     the  wood,      To  grand  -  fa-ther's 
2.0-  ver  the    riv  -   er    and  thro'     the  wood,     And  thro'   the  old 


§M 


t= 


^^ 


-#- 


house  we     go 
barn -yard    gate 


The  horse  knows  the   way 
It   seems  that  we    go 


To    draw      the 
Ex-treme  -   ly 


m 


:*=^ 


? 


^ 


-^^^ 


S 


sleigh.  Thro' the    white     and  drift -ed      snow., 
slow,      Ver-y      hard       it      is       to      wait.    . 


O  -  ver  the 
O  -  ver  the 


m 


^E^: 


1^ 


^ 


^- 


^ 


II 


P 


riv  -  er    and  thro'  the  wood,    Oh,  how  the  cold  wind  does  blow  1  It 

riv-er    and  thro' the  wood,Nowgrandmother's  cap    I      spy  1  .  .       Hur- 


=^*=F# 


£:3 


m 


S=F 


:sezm 


f-- 


^i£_i^: 


stingsthe  toes,  And  it  bites  the  nose,  As    o-ver  the  ground  we  go. 
rah  for  fun  !    Is  the  pudding  done?  Hurrah  for  the  pumpkin  pie  I 


62 


WORK  AWAY 


313 


Allegro  non  troppo 


Martha  Thompson 


i 


1.  I        re  -  mem   -   ber     a       les  -  son,    It      was    not    thrown  a  - 

2.  Hands  were  made       to     be     use  -  ful,     If      you  teach    them  the 

9 


^ 


^ 


^ 


s 


^^^S 


way  —  In     the  morn  of    life  work  on,        Do    not  waste  the  time    in 
way ;    For  your  neigh-bor  or    your-self    Make  them  use  -  ful     ev  -  'ry 


j|6Lf   per  li^=^^j^= 


^ 


play.  Work    a  -   way  1     .  While  you're  a  -  ble  work  a  -  way,  Work  a 
day,  Work   a  -  way  1     .  While  you're  a  -  ble  work  a  -  way,  Work  a 


•2=^=^ 


^^j^^^-=^^=^ 


s 


way, 


While  you're  a  -  ble  work    a  -  way. 


^ 


Andante 


fe^i 


THE    LITTLE    DUSTMAN 

9 


Arr.  by  Brahms 


314 


-^~^- 


^ 


^ 


^ 


1.  The  flow  -  ers  all  sleep  sound  -  ly    Be-neath  the  moon's  bright  ray;  They 

2.  At     ev  -  'rywin-dow  peep  -  ing  The  dust-man  shows  his  head ;    To 


nod  their  heads  to -geth  -  er,  And  dream  the    night  a  -  way. 
see      if    all     good  chil  -  dren  Are  fast      a  -   sleep  in    bed ; 


The 

And 


^-- 


ti2=t: 


S 


? 


^ 


murm'ring  trees  wave  to       and  fro,     And  whis-per  soft  and  low. 
sprin-kles  dust    in  -  to       the  eyes     Of       ev  -  'ry   one    he  spies. 


iEg=t: 


Sa 


s 


Sleep 


on, 


P: 


i 


sleep  on,       Sleep  on,     my      lit  -  tie     one  I 


ALL  THROUGH  THE  NIGHT 


63 


Adapted  by  Celia  Standish 
Caniabile 


^ 


9/ 


Welsh  Folk  Song 


-^^ 


3^ 


-z^ 


315 


^E 


1.  Sleep,  my  child,  and  peace    at  -tend  thee,  All     through  the  night ; 

2.  Hark  I  the  whip-poor-will       is   call  -  ing  Clear  through  the  night ; 


b;i=t 


^^m 


S3 


^=t2^ 


m 


Guar  -  dian  an  -  gels  God     will  send  thee 
Pure     and  sweet  his  tones   are   fall  -  ing, 

9 


All      thro'  the  night. 
All      thro'  the  night. 


t 


#■— 


S 


Soft  the  drow-sy  hours  are   creeping,Hill  and  vale   in  slum-ber  steeping, 
Deep  in  dreams  my  child  is     ly  -  ing,Breez-es     to    my  song   re-ply-ing, 

'^-^PP 


^=r=1 


^m 


Moth  -  er    here    her  watch      is   keep  -  ing,    All      thro'  the  night. 
Lul    -    la  -  bies    are    soft   -    ly   sigh  -  ing.    All      thro'  the  night. 


^ 


P 


teF 


EE 


~t 


^^ 


^-m 


W=^^^ 


316 


LULLABY  TO  AN  INFANT  CHIEF 


Sir  Walter  Scott 
Con  espressione 


Clayton  Johns 


15 


t 


i 


i 


1.  O  hushthee,my 

2.  O    fear  not  the 

3.  O  hushthee,my 


ba  -  by, 
bu-gle, 
ba  -  by. 


S 


^ 


1^^ 


S 


;e: 


W 


thy  sire  was     a  Knight,Thy  moth-er     a 
tho'loud-ly    it    blow's.  It      calls  but  the 
the  time  will  soon  come,  Thy  sleep  shall  be 


^^~-m- 


^ 


317 


la  -  dy  both  love-ly  and  bright ;  The  woods  and  the  glens,from  the 
ward-ers  that  guard  thy  re-pose  ;  Their  bows  would  be  bend-ed^  their 
bro  -  ken  by  trum-pet  and  drum  ;  Then  hush  thee,  my  dar-ling,  take 
9  ^  9    r//.     .    .    .  ^ 


ii^^i^^ 


^ 


^ 


2^ 


tow'rs   which  we  see.  They  all    are   be  -  long  -  ing,dear  ba  -  by,  to   thee. 

blades  would  be  red.  Ere     step  of      a     foe-man  draw  near  to  thy  bed 

rest   while  you  may, For  strife  comes  with  manhood,as  wak-ing  with  day. 


PART   III 


THE  INTERMEDIATE  TONES    SHARP-FOUR  AND  FLAT-SEVEN   IN 
EACH  KEY,  APPROACHED  AND  FOLLOWED  STEPWISE 


Chapter   I 

THE   MELODIC   PROGRESSIONS  5  ^4  5  and  6  b7  6 
b 


Melodic 
progres- 
sion 


8    7       8  5^5 


319 


320 


321 


322 


P 


?E=PC 


?^ 


^m 


*=^ 


^ 


'^^^^m^mm 


i 


3=s 


oiiLju: 


il* 


fcd^t 


i^agsgj 


iMrT^^x^s^ 


Ff-VHs-^ 


g^^^Pi 


323 


3^^ 


1.  In  shade  or  sun,0  brook,you  run, Your  singing  is  nev  -  er    sad  ; 

2.  You  tell  of  cheer  thro'out  the  year, Teach  me  to  be  always  (  Omit)    glad  1 


^^^^^^^^^^^^ 


324 


m 


Rose  Miles 
Con  brio 


THE    FOOTBALL   GAME      English  Folk  Tune.    Adapted 


325 


^ 


^^^^^ 


^^ 


-^       ^ 


1^ -^ 


1.  Hur-rah  for  some  fun!  now  school  is  done,  Away  to  the  football  field  1  .    Our 

2.  Hur-rah! they're  away!  the  ball's  in  play, The  rushes  and  runs  be-gin,  .     See, 

64 


65 


|=piJ:  J-J-Hf=i^^V  J- ;  J' VBp^ 


men  are  read- y  their  best  to   do,  Andnev-er    an  inch  will  they  yield  ;  They 
down  the  fieldthey  advance  a- gain, They  each  are  de-termined  to  win.  They're 


m 


^E^ 


^ 


scorn  the  hard  -  est     fall    .    . 
gain  -  ing  more  and     more,    . 


If    on  -  ly   they  keep  the    ball.         Hur- 
How  luck-y  1    a  -  gain  they  score  1      Hur- 


i 


m 


^ 


m 


n:=}: 


rah  !  Hur-rah  1  our  stur  -  dy  team  1  Hurrah  for  our  cap  -  tain    too  1        Hur- 
rah 1  Hur-rah  I  the  game    is  ours  1  Hurrah  for  our  foot  -  ball    men  1      Hur- 


i 


^ 


w 


s 


^ 


:#— ^ 


t==f 


rah  I  Hur-rah  1  our   stur  -  dy  team  1  Hur-rah  for  our    cap  -  tain  too.  .  . 
rah  I  Hur-rah  1  the    game    is    ours  1  Hur-rah  for  our    foot -ball  men  1 


3     4     3 


6  |77      6  *-" 


t=l 


utat 


^3^3^^ 


326 


Melodic 
progres- 
sion 

6  b7  6 


i 


w^ 


msm 


m 


327 


^g 


P-    J'^g^l  f^     tl-^28 


p^^^^^^^^^^^^^^^a 


329 


66 


THE  NOBODY  MAN 


WiNTHROP  Packard 
Moderato 


Frederic  Field  Bullard 


^ 


i 


S 


^ 


1.  I  walked  one  day  a     long,long  way,To  Top  -  sy  Tur  -  vy  Town, Where  it's 

2.  His  head  was  bowed,he  groaned  aloud,  With  burdens  that  he  bore, The  mis  - 


i 


n   ri  ij  , 


if—w 


^ 


P 


'^ 


day  all  night,and  it's  night  all  day,Iii  the  Land  of     Up     -  side  Down.    And 
haps  and  faults,such  a  queer,queercrowd,Till  there  seemed  no  room  for  more."  And 


3S 


^C=31 


who  do  you  think  was  walking  around  ?  Now  guess  it    if   you  can  1    In  the 
why  are  you  now  so     heav  -  i  -  ly  tasked, By    such  an  un-just  plan  ?  "  On  a 


i 


/^    9 


^m 


3^3E^^^^^^^3^^ 


Land   of    Up-side  Down  I  found  The  No  -  bod-y  Man,The  No  -  bod-  y  Man  I 
way-side  seat     I    sat  and  asked  The  No  -  bod-y  Man,The  No  -bod-  y  Man  1 


fflSi 


^ 


E 


-j^-^ 


^ 


3.  He    sat  him  nigh  with  a  dole-ful  sigh.  And  said,"  It  needs  must  be,  What 

4.  He  passed  a-long  with  a  dole-ful  song, This     o  -  ver  burdened  wight, And 


i 


^=^ 


*=ai 


^3^ 


-^— *-^ 


'#* 


*no-bod  -  y'  does  on       earth  so   sly     Is    shoul-dered  here  by      me.      The 
bowed  with  the  weight  of   oth-ers' wrong.He   hob -bled  out     of     sight.     I 


i 


i 


iiSs 


*±^ 


slips  and  mishaps  that  are,soon  or  late,  De  -  nied  by  the  careless  clan.  In    the 
don't  understand  how  it     all  can    be,  Or  why  he  should  bear  this  ban,But  'twas 


i 


rss  9 


^§^^^^1 


i 


-3: 


=f 


Land  of  Upside  Down  all  weight  The  No-bod  -  y  Man,  the    No-bod-y  Man." 
strange,yes,ver-y  strange  to  see  The    No-bod-y  Man,  the   No-bod-y  Man. 


^  Words  from  St.  Nicholas  used  by  permission.     Music  copyrjglit,  1903,  by  Oliver  Ditson  Company. 


Chapter  II 

THE  MELODIC  PROGRESSIONS  5  j{4  5  and  6  b?  ^  —  Continued 
a  b  c 

* 


€,7 


8   7     8  5  1^4-     5 


^ 


EH 


Melodic 
agres- 
m 
845 


IO-3T  Progres- 
'J'5*  sion 
5 


i 


E^ES 


i^^§^^ 


^ 


-^-•- 


^^^ 


332 


^m 


a? 


i 


^ffi 


t=tf^ 


*^ 


^1=1: 


i^:^ 


itt^ 


333 


m 


e^ 


P 


^§^ 


a: 


^T^ 


1^ 


334 


THE  RAIN  HARP 


i 


Frank  Dempster  Sherman 
ji     Allegro 


Henry  Holden  Huss 
.  9 


^^^i 


i 


P3E5 


335 


1.  When  out    of  doors  is    full   of  rain  I  stand  and  look  out  thro'  the  pane, And 

2.  I      lis  -  ten  and    I    hear  the  sound  Of  mu  -  sic  floating  all    a-round,  And 


tf^fe#g^5^^ig^g 


i 


see   the  branch-es    of    thetrees,Like  peo-pledanc-ing   to  the  breeze. They 
fan  -  cy    'tis     the  breeze  who  plays  Up-on   his  harp,  on  storm-y  days.The 

9 


^^. 


3=q 


bow    po  -  lite  -  ly,  cross  and  meet,Sa  -  lute  their  part-ners  and  re  -treat,  And 
strings  are  made  of  rain,and  when  The  branches  wish  to  dance  a  -  gain, They 


i^s 


-^ 


1^ 


iS 


nev  -  er       stop   to    rest,   un  -   til  They  reach  the   end  of  their  quadrille, 
whis  -  per      to     thfe  breeze  and   he    Be  -  gins    an  -  oth  -  er  mel  -  o  -  dy. 


68 


336 


&^fed4^>¥i^^fg3;?»-^r%-^^^a 


i 


337 


-=i-^ 


MY   MOTHER 


Mary  Stanhope 
Espressivo 


Dr.  J.  Mainzer 


33'gJpB 


i^ 


itH^ 


gl 


5^ 


-^1-=1- 


1.  When  at  morn  I    first    a-wake,My  moth-er's    face     I      see,  .  . 

2.  When  the  bed-time  shadows  fall, I'm  al   -   ways  sure    of     this, 


^^ 


^j:^-*!^  CiLj=g4g 


:^=^ 


BZIK 


Smil-ing  and  all        a-light  with  love,  And  bend-ing  o   -    ver    me. 
Just  as  I'm  drift -ing  off     to  dreams,!    feel    my  moth-er's   kiss. 


Melodic 
progres- 
sion 
6  t77  6 


-i^i^^ii^ 


^13^ 


340 


m 


^-^—^s 


i3?^FF^^^ai3 


P^^^pg^Sp^^^B^i^P^B 


341 


342 


^ 


•   ■'  0- 


^^ 


•^ — ^- 


i 


A  CHRISTMAS  SONG 


69 


i 


Edna  Kingsley  Wallace 
Animato 


W.  E.  Appleton 


^ 


:fi: 


343 


^ 


'^ 


ife? 


1.  Hur  -  rah     for     the    time    of       the   mer  -  ry     Kris  Krin-gle,     Of 

2.  Hur  -  rah    for     the     sea  -  son      of      glis  -  ten  -  ing     hoi  -  ly,      Of 


^^^^^ 


fP=g=S=^ 


feast  -  ing,  of   games  and   of       toys  ;         Of  sleigh-bells  that  jin-gle    and 
play  -  ing  and   fun   with-  out     pause ;       Of    sol-  dier   and  dol  -  ly    and 


i 


I: 


^^ 


^=:^ 


i 


^ 


^ 


^ 


fin-gers  that  tin  -  gle,  And  shout-ing    of    girls   and    of      boys.        Hur  - 
ev  -  'ry-thing  jol  -  ly,  And,best    of     all,    old    San  -  ta      Glaus  1     Hur  • 


i 


^^. 


rah     for      the     time   when   the  Christ  -  mas     tree    light  -  ed       Is 
rah     for      the     time   when   the  Christ  -  mas     tree    light  -  ed       Is 


4 ^       ^— 


J'^^Js: 


^ 


la  -  den  with   tin  -  sel   and     things,     When  all    are   ex  -  cit  -  ed,  and 
la  -  den  with   tin  -  sel   and     things,     When  all    are   ex  -  cit  -  ed,  and 


^^ 


^^^^ 


^^ 


no     one     is    slight-ed.  And   ev  -  'ry     one  mer  -  ri  -  ly    sings :        Tra 
no     one     is    slight-ed.  And   ev  -  'ry     one  mer  -  ri  -  ly    sings :        Tra 


"^m 


■^t^^ 


la  la  la  la  la  la  la,  .  Tra  la  la  la  la  la  la  la,  .  Tra  la  la  la  la  la  la  la  la  la  la  la  la 


^^^ 


ly  L.  r  F  ^  ^ 


^^ 


fe^ 


-^^^  ^-^ ■  ^    m-^  ^ 

la  la  la  la    la  la  la,Tra    la  la  la  la  la  la  la  la  la  la,Hurrah,hurrah,hurrah  1 


70 


Melodic 
progres- 
sion 
5 


Chapter  III 

THE   MELODIC  PROGRESSIONS   5  J$4  5  and  6  b7  t— Continued 


|;344^^H^^P 


8    7     8                                  ^  if*     ^ 

/ 

OAC    /f  u4    !  ^  J — 1 — >r~i^ — \ — 

J     ""f    J    'W'^M    ^hm    ^ 

315  _^^4^p  ^_J^-^^ 

^  \   \  ^  p  y  Ej^ 

^-^-f^^U^ 

^  J  J  jii..Njf^^^ifr7^^^^^^P^^^>^ 


346 


347 


Hj-u  j-ij-4-a^5=^Fr-nr^^F^ 


THE    FAIRY    BOOK 


i 


Abbie  Farwell  Brown 
Allegro  non  troppo 


W.  W.  Gilchrist 


4=^ 


348 


?4=F 


g 


^ 


-4P^— #- 


^P4^ 


:s2 


1.  When  Mother  takes  the    Fai  -  ry  book, And  we    curl  up    to    hear,      'Tis 

2.  Where  Lit -tie    Peo-ple  Uve     in  nuts  And  ride  on  but  -  ter  -  flies,     And 


i 


t 


'^ 


-^-^ 


w 


"All      a  -  board  for     Fai 
won-ders  kind-ly    come 


ry-land! "Which  seems  to  be      so     near.     For 
to  pass     Be  -  fore  our  ver  -  y     eyes  ; —  It 


J    J    ^   M^-^-^dlJ    J  IJ^>L-J   0  I J  ^ 


soon  we  reach  the  pleas 
is     the    nic  -  est    time 


ant  place  Of  "Once  up  -  on     a     time,"    Where 
of     day,  Tho'  bed-  time    is     so     near.    When 


i 


rs\   9 


t=^ 


^^^ 


g^ 


rob  -  ins   call   the    hour 
Moth  -  er  takes  the    Fai  - 


of  day,  And    flow  -  ers      talk    in  rhyme, 
ry  book,  And    we        curl     up     to     hear. 


n 


^ 


■^H-^ 


^ 


^ 


¥ 


>— fr 


^m 


349 


THE   SONG-BIRD'S  FAREWELL 
H.  VON  Fallersleben 
Moderato 


J.  Gersbach 


m 


^ 


350 


1.  Harkl 

2.  All 

3.  Yet 


I      heard 
the      love 
this     bird 


a  song       -       ster     sing     -      ing  1 

ly  flow'rs  have     per     -     ished, 

was         blithe     -        ly       sing     -      ing, 


i 


i 


i 


Yes,      he     sang     his       last       fare- well.  To      the     sun        a 

Winds  have    sad   -   ly        sung     their  knell ;       Leaf   -   y  crowns    the 
To      our     vale      his       last        fare -well,  To      the     sun       his 


% 


m 


trib 

for 

trib 


ute  bring-  ing,    Ere       the     ear    -   ly 
est   cher-ished  Yield  -  ed      to        the 
ute  bring-  ing.    Ere       the     ear    -   ly 


dark   -   ness  fell, 
fa      -      tal  spell  1 
dark   -   ness  fell. 


i-^sP^ 


3  4 


6  b7    a 


¥9 


^ 


Melodic 
-     progres- 
oD*-  sion 

6  t?7  6 


I 


^4=t 


1^^ 


w=t 


J.  //>   Jl^ 


f=r^^f^iF^ 


i 


=in-:j.-^ 


-i^-^ 


^i^ig 


352 


353 


|!ir=M^-nK 


^ 


rr^^ 


^»-K 


g 


S 


354 


tztctfe^ 


l*=i=^ 


7'2 


Melodic 


'm 


P^j^Jir  r  u  j_^ 


i 


-i^^w-vi- 


356 


^ 


:m3 


u-i      ^- 


^ 


^      I  *^ 


WISHING 


i 


Frank  Dempster  Sherman 
Celia  Stan  dish 
Allegro  moderato 


Jessie  L.  Gaynor 


357 


i 


i 


1 5a 


^^ 


1.  I       oft  -  en      sit     and  wish    that     I     Could  be         a     kite     up 

2.  And    there  I     would  a     mo  -  ment  stay     To  watch    the  chil-dren 


i 


p^ 


^ 


in 
at 


the  sky,  And   ride   up  -  on     the  breeze,and  so  Could  go    wher- 
their  play ;  How  they  would  stare  to     see    me     fly     So     far       a    • 


i 


/^  9 


i^ 


i 


^ 


^ 


i 


e'er      it  chanced  to   blow.  Then  I       could  look  be  -  yond  the  town,  And 
bove  them  in        the  sky  1  Then  off       to   lands  of      ice    and  snow, Where 

9 


i*: 


m-^ 


r  1^  J  ij  i-4^  ^  1^  ^ 


see      the   riv  -  er   wind  -  ing  down, And  fol  -  low    all     the  ships   that 
dwells  the  fur  -  clad    Es  -  ki  -  mo  ;  And  then    a  -  way    to     des   -   ert 


i 


i 


sail  Like  me       be  -  fore   the  mer    -  ry    gale,  Un  -  til      at     last    with 
sand,Where  A   -  rab  chiefs  their  men  com-mand.When  evening's  winds  be 


them     I        came     To     some     place    with      a         for    -    eign  name. 
gan      to       blow,     Back  home-ward        I     would    swift   -     ly     go. 


Chapter   IV 


73 


THE   MELODIC   PROGRESSIONS   5  j^  5  and  6  b7  ^—Continued 


sJt*  5 


Y-|  Melodic 

:j  oeg  Progres- 

.1  00«  sion 

^  5«4  5 


^^fe^ 


^ 


i^=1=l* 


^ 


i^iri 


1^ 


yT|-g^ 


359 


^ 


fi 


^~-m—^ 


TfTfTt^- 


T 


^Si 


3^0 


^ 


3 


N— h 


^^P 


361 


^ 


THE   OWL 


Mother  Goose  "  from  Germany 
Allegro 


Mrs.  H.  H.  A.  Beach 


t 


t 


S362 


W 


^^ 


lEM 


^ 


1.  The  owl   a-mong  the  bushes  sat  And  when  it  rained  it  spoiled  his  hat,  But 

2.  The  owl  stood  on  a  moss-y  wall,    And  then  be-  gan  to  hoot  and  call ;  The 


^ 


wz:,  [ 


when  it  dried  he  said,"Oh  dear,    Just  now  it'slook-ing  ver-y  queer.  "Twitter 
moon  a-rose,he  flapped  his  wing,Said  he,"She comes  to  hear  me  sing."Twitter 


* 


^M 


i 


s 


^t^ts 


«l    ^ 


hoo  -  00  !  Twit-ter  hoo  -  oo  !  We'll  do     as   oth  -  er    peo  -  pie  do,Twit-  ter 


i 


/TS     f 


/r» 


f- 


^S 


^ — ^- 


hoo  -  00 1    Twit-ter   hoo  -  00 1   We'll  do      as    oth-  er  peo-  pie    do, 


74 


3^3  gjq^L^-4p^^^^j^|:J^f}^^4l 


m 


m 


^ 


l'S=S=?if 


364 


w 


■^  1 J 


mzzSi 


3tas=«t 


'§- 


y     y 


GOODBYE  TO  THE  FARM' 


R.  L.  Stevenson 
Allegretto 


Wenzel  Muller 


S 


t=ti: 


36s 


g^S^ 


#3 


::*z=* 


3 


i 


1.  The  coach  is   at      the  door  at   last,        The  ea - ger  chil -  dren  mounting 

2.  To  house  and  gar  -  den.field  and  lawn,     The  meadow  gates  we  swung  up- 


1^=^ 


% 


^m 


% 


if=^ 


m 


fast,       And  kissing  hands,in  chorus  sing,Goodbye,goodbye,to  ev'ry-thing ! 
on,    To  pump  and  stable,tree  and  swing,Goodbye,goodbye,to  ev'ry-thing  1 


Melodic 

"?»««-  366  [-/J2,^ 


6T7  6-'     ES33 


4 

Y^ifYf:] 

6  b7  6 


367 


m 


WTjJTr 


0^^^^ 


^ 


'^^^m^^ 


0  0 


3^«F#^^ 


t=t 


^^^^ 


^ 


S 


•«-s- 


3^^yi|^4^^^^^^^^^i^.%^(^^^^^^^ 


1  From  "A  Child's  Garden  of  Verses,"  published  by  Charles  Scribner's  Sons. 


75 


#1 


I — 


M^E^ 


5 


m 


H-^ 


370 


■9t-^ 


THE   PASSING   SOLDIERS 


Abbie  Farwell  Brown 
Con  spirito 


MARCH 


^^ 


C.  E.  CONNEW 

9 


m 


M^ 


1.  When  sounding  drums 

2.  I  hear   the   bands 


i 


fc^s 


and  tramping  feet  . 
of  mu  -  sic    play, 

9 


With  crowds  of 
And  see  some 


^ 


371 


^ 


peo 
ban 


pie  fill     the    street, 
ners  move  a  -   way  ; 


^ 


t 


Oh,  how  they  run  and  push  and 

The  sol-diers  pass  and  soon  are 

9 


cry,      To  watch    the      sol  -  diers  pass  -  ing      by  I      To  watch    the 
gone,  And      I       have   seen      not      e    -  ven     one  1    And     I       have 


S 


'^ 


^ 


:^-^ 


KJ=^^^^^U- 


But  tho'    I     stand 
The  peo  -  pie  must 


sol  -  diers 
seen   not 


pass  -  ing  by  I 
e  -  ven  one  I 


.   on  tip -toe 
.    for-get,    I 


g^^^^U^jU 


^ 


'1^ 


^ 


tall,     .     .    The  grown-ups  make  ...  a    sol  -  id    wall ;  .     .    Oh,  it      is 
know,      .  That  they  were  chil      -      dren  long  a  -  go.      .     .  Hov/  splendid 


m 


i 


ver    -   y      sad 
it      must  feel 


to        be        So     lit    -  tie      one      can   nev   -   er 
to        be        So    big     that     one      can     al  -  ways 


^ 


t 


see  1    So     lit  -   tie   one     can  nev  -  er,    nev   -   er        see  1 
see  I    So    big    that  one     can    al  -  ways,  al   -  ways     see  1 


76 


Chapter   V 


THE  MELODIC   PROGRESSIONS  5  J$4  5  and   6  [r?  ^—Continued 
a  b  c 


Melodic 
progres-  ^-« 
sion         O/^ 


1 — \j — bti 1 

^^^^^ 

^1^ 


21^ 


B 


:*? 


ijt*     8 


i 


373  =?T^ 


^i^r^j|J^Cr^f^?^^TPgTj[^ 


374 


s 


XL 


p3 


^ 


^^ 


?=^^ 


i 


!»-*■ 


375  3P 


te 


f^q=^ 


E^ 


W=^'-^ 


EMna^  l^-k^ 


OLD  GLORY 


i 


Nixon  Waterman 
Marcato 


A.  BiNZER.    Adapted  by 
Frederic  Field  Bullard 


£1E 


^^ 


3^g 


376:i?eS 


:43t 


? 


1.  The  flag  our   fa-thers  fought  to  save,  Proud  -  ly      let   us  name  it  1   "Old 

2.  Our     fa-thers' zeal  for  truth  and  right    Still  shall  live  in    sto-ry,    While 


i 


^m 


s 


Glo  -  ry  "    is      its      ti  -   tie   brave,      Bold  -  ly      dare   we   claim   it ! 
o'er   our  land    in     free  -  dom's  light,  Proud  -  ly     waves"  Old  Glo  -  ry  I  " 


i 


± 


t 


^ 


^ 


m 


Come  song  of  peace     or  war's    a  -  larm.  Well  guard  its  folds  from 
Their  glo-rious   vie  -  t'ries,dear  -  ly    won,      Are  hand  -  ed  down  from 


^ 


-=1-^ 


-^- 


aoiM 


^ 


ev-'ry  harm,  Depend-ing  still  on  God's  own  arm, To     hold  and     save, 
sire  to  son,  Till  peace  shall  fold  all  lands  in  one,For     ev  -  er   -  more. 


77 


i 


^ 


^^ 


x-^ 


53^^ 


-^-M-^ 


g^^^  377 


HARVEST   SONG 


A.  Vial  de  Sabligny 
Moderato 


French  Folk  Tune 


i^ 


8»'-a  r    r 


i 


^378 


^     I  d 


¥=^ 


1.  O'er    our  fields   the  frost    has     de  -  scend  -  ed,  La  -  bor     is     done, 

2.  She    who  leads    is       in  -  no  -  cent  Pleas  -  ure,  End-ing  the    year 


g 


t=^ 


^ 


-P^ — ^- 


f 


g 


gone  is  the  sun;  Safe  -  ly  stored,  the  har  -  vest  is 
glad  -  ly,  with  cheer ;  Joy  and  com  -  fort,  barns  full  of 
9  9 


^- 


m 


end    -     ed ;      All      in         a        ring,       Dane  -  ing       we      sing, 
treas   -   ure,       Ev  -  'ry  -  where  health,       Au  -  tumn'S  ripe    wealth. 


4    3  ^  6  b?  6 


Melodic 
070  progres- 
•""  sion 

6  t?7  6 


m^ 


N: 


i^^jij^pf  r^B^rr^trHi  380 


w=^- 


4-11^^^ 


g^Basg 


#!?f=i;?=3^ 


\^1 


f£=s: 


^ 


^ 


382 


78 


383 


i 


fafcJHv->^ 


fe*: 


ffi^-R^^TJ-^r^TT?^ 


i^E^ 


i^^rts: 


F    #  I  ^    <» 


jr~r   m 


^\]/   ^   U  1:^:^ 


384 


i 


?3r 
^ 


:|s=N: 


^ 


se 


385  F^ 


^^fep^JIfrii^li^ 


386 


Anonymous 
Allegro 


GOOD-MORNING,   MERRY  SUNSHINE 

Margaret  Ruthven  Lang 


te=^ 


g^Hi^ 


U 


^izz^ 


22 


1.  Good-morn  -  ing,    mer-ry      sun    -    shine,  How   did       you  wake    so 

2.  I      nev  -  er       go      to      sleep,     dear,      I        just       go  round    to 


^— hf^: 


:l2«t 


f^^^ 


soon  ?     .        You've  scared    the     lit    -    tie      stars 
see    .     .  My     lit      -      tie    chil  -  dren    of 


a  -  way      And 
the  East,    Who 


* 


i 


2^ 


g 


£3 


i 


shined  a  -  way     the     moon, 
rise     and  watch  for     me.  . 
9 


I     saw    you     go 
I      wa  -  ken     all 


to   sleep   last, 
the  birds  and 


^ 


;^ 


xw- 


night     Be  -  fore       I        ceased    my     play, 
bees    And  flow  -  ers      on  my     way, 

9 


How  did 
And   now 


you 
come 


^^ 


'SA 


Si 


t=F^: 


get     way     o   -  ver    there,  And    pray  where  did     you     stay  ? 
back    to     see     the     child    Who    stayed  out    late      to      play. 


Chapter  VI 


79 


THE   MELODIC   PROGRESSIONS   5  {^4  5  and  6  b?  ^—Continued 


Hi 


6jf4      8 


Melodic 
progres- 


J387S" 


:=t 

^^ 

^3^- 

^i^-^ 

=1= 

I— vt 

w — f- 

=^=i*Tr 

a-  l»     ^     . 1 

=^f*-ft-^ 

--^^-^^f^ 

=^ 

— ^ 

:t^t 

—  E^^^^^^l 

388 


389 


390 


THE  WIND'S  SONG 


M.  A.  L.  Lane 
Lento 


Frederick  Kucken 


^ 


it 


391 


1 .  Soft    blows  the    west  -  ern  wind,  Hark     to      the    song    he    sings, 

2.  Strong  blows  the     east  -  ern  wind,  Strange  are    the   tales    he  brings, 


i 


%i 


% 


^ 


-f — ^t 


Tell    -   ing     of      won-drous  things  Far,        far       a   -   way. 
He       sings     of       oth  -  er    things  Far,        far       a   -   way. 


i 


:iii: 


r^*^ 


^ 


•     k 


Wide   fields    of      rip  -  'ning  grain.  Sun  -  shine  on      hill    and  plain, 
Ships    pass  -  ing     to      and     fro.  Great   white-winged  birds  that  go 


-I 


t 


i 


Parched  lands  that  thirst   for     rain,      Far,       far       a  -  way. 
O'er       seas  which  ebb   and    flow,     Far,       far       a  -  way. 


80 


MY  VALENTINE 


Alice  E.  Allen 

Allegro  con  grassia 


IsiDORA  Martinez 


392 


^^M 


ms^ 


1.  The  dear  -  est   lit    -    tie  val  -  en -tine  Has  come  this  frost  -  y  mom  - 

2.  The  sweet-est   lit    -    tie  val  -  en  -  tine,With  sil   -   ver  stars     all  span  - 


^^^ 


u 


=?sn 


^ 


ing,  Of  pink  and  pearl,and  all  a  -  shine,  Just  like  the  skies  at  dawn  -  ing.'Tis 
gledjAnd  in  and  outthere  twist  and  twine  Love-knots  with  posies  tangled. 'Tis 


-#1^— ^-JV^  -^-f!  -^L^^-^^-^-t^f^ ^,.^- 

^-^^^--^-^  ^  *  ^  ^  *  *  ^  J-^  ^  p  -*-:l-«l4 j^^-'-iP- 

on     my  win  -  dow  pane, 'tis  mine,  For  me     he  must  have  meant  it ;    And 
made  of  lace     so  fair    and  fine,With  edg  -  es  crimped  and  crinkled,  And 


m 


a 


m 


^ 


?E==#^ 


yriX^ 


& 


:^z^ 


though  his  name  he   did    not  sign,  I'm  sure  Jack  Frost  has  sent     itl 
o'er  eachti    -  ny     trail-ing  vine,Brightdi'mond  dust  is  sprin  -  kled. 


Melodic 
progres-  onq 
sion         ^f^*^ 
6  t?7  6 


^^#%a^ 


M 


H 


w^ 


m 


394  ^Pii^ 


t 


^J^JzJi^EEr^g^ 


^El 


*=t*: 


395 


fe^^ 


p^m^^n^wm 


T 


^^m 


i 


396 


u 


f^ 


i 


s 


WASHINGTON'S  BIRTHDAY 


8l 


From  "  The  Youth's  Companion  " 
M  u  Allegro  moderato 


Frederic  Field  Bullard 


'%^ 


ruTTU 


^ 


^^=pr^^=n 


at^ 


^ 


i 


tf 


1.  I         won-der    if    George  Wash-ing- ton,  When  he     was  nine    years 

2.  And    now,  my  boy,whose    birthday  comes  With  Washing-ton's  to    - 


^^ 


397 


^=W 


^^s. 


m^ 


old,         Turned  out  his   toes  and  brushed  his  hair,  And  al  -  ways  shut  the 
day.        You      may  not   be      to    Con-gress  sent, You  may  not   be   the 


^Pg 


^ 


^^^^^ 


y 


door  with  care,  And    did    as    he  was   told.         I         won  -  der   if      he 
Pres  -  i  -  dent,  Al  -  though,perhaps,you  may  ;      But     each  who  does  the 


^ 


i=e?E^ 


-^ 


^ 


3=^ 


nev  -  er   said,"  O      dear  1      O      dear  1 
best   he   can,  may     be,  may    be 


When  he  was  sent  to    bed. 
Like  him  a    f  aanous  man. 


i 


M 


N-ts 


M±r^-^-Pl 


^ 


398 


w^ 


eizs^z 


^ 


OVER   THE   SEA 


Celia  Standish 
11  Andantino 


Schumann.    Adapted  by 
Percy  Goetschius 


fe-^j'  J  r-  ^^-;iJ'  ^  r-  i^^^pi^^ 


399 


1.  The  sails  are    all    set,      and  strong  the  wind  blows.  As  swift  down  the 

2.  I     wish  that    I    knew     what  treasures  you  hold  ;     Per- haps  you  bear 


^ 


^-/r;~g=pg^ 


y 


bay         the    gal  -  lant  ship  goes, 
wealth       of      sil  -  ver   and  gold. 


A  -  way    to     the  coun-tries  far 
O   car  -  ry      it     swift  -  ly     a  - 


% 


i 


g 


^ 


^ 


o  -  ver   the   sea,         O    hap  -  py  and  safe  may  your  long  journey  be  1 
cross  the  waves  blue,    For  some  lit  -  tie   girl  may  be    wait-ing  for  you. 


82 


Chapter  VII 


Melodic 
progres- 
sion 
5  ti4  5 


THE   MELODIC   PROGRESSIONS  5  j:f4  5  and  6  b?  ^—Continued 


^ 


MY  SHADOW 


Robert  Louis  Stevenson 
Vivace 


Jessie  L.  Gaynor 

9 


404 


^^^^^ 


^ 


1 


a=^ 


(     I    have   a     lit  -  tie  shad-ow  that  goes  in    and  out    with  me,    And 

(     fun  -  ni  -  est  thing  a  -  bout  him    is     the  way   he  likes     to  grow,  Not 

(    Oft  -  en   he  shoots  up  tall  -  er    like    an    ind  -  ia   rub  -  ber  ball,  And 

"  (  found  that  my  lit  -  tie  shad-ow  like      a     la  -  zy, sleep  -  y  head  Had 


^m 


^- 


^ 


^^^ 


iwhat  can  be  the  use  of   him  Is  more  than  I  can  see.  He  is  ver  -  v,ver  -  v 
lil       "  - -  -  ^ 


like  all  proper  children,Which  is  {Omit  to  2nd  ending^ 


(     oft  -  en  gets  so    lit-tle  That  there's  none  of  him  at  all.  And  one  morning  very 
(  stayed  at  home  behind  me, And  was  {Omit  to  2nd  ending^ 

9 


g 


s 


5 


P 


i 


1.  like  me  From  the  heels   up    to    the  head;  And    I     see     him  jump  be - 

2.  ear  -  ly,Long  be- fore    the  sun  was    up,  When    I    rose    and  found  the 

V   2  FiNE~| 


^1^ 


f¥=f- 


w^^ 


p 


^!Z?  . 


1.  fore  me,  When  I  jump    in -to    my   bed.   The    al -ways  ver -y    slow. 

2.  dew-drops,On  each  golden  but- ter- cup,      I    fast      a-sleep  in   bed. 

*  From  "  A  Child's  Garden  of  Verses,"  published  by  Charles  Scribner's  Sons. 


83 


P^^ 


^m 


^— ^ 


Melodic 
progres- 


^     ^      "  SUA 


(5)6 


GOOD  NIGHT 


Rose  Miles 

Andante 


Mendelssohn 


^ 


S 


406 


P       P 


g 


iJHi 


1.  To      all     good  night  1  now  fades  the  light,Our  work    is    done  till 

2.  The   sun       is    sink  -  ing   slow   from  sight,A    gold  -  en    ball     of 


^ 


r  r  r  rl^--^ 


E 


^ #■ 


i 


morn -ing  bright;  Our  books  we  all  have  laid    a-way    Un  -  til   we  meet  an  - 
glow  *  ing  light ;  And  now  our  les  ••  sons  all    are  o'er,  And  glad-ly  home  we 

j)p  rit. 


s 


t 


h^ 


r-^T-rr-T- 


oth  -  er  day,  To    all  good-night  1  To  all  good-night  1  To  all  good-night  I 
go  once  more,To    all  good-night  I  To  all  good-night  1  To  aU  good-night  I 


i^^hg^H 


W   -nj'i 


\>7     6 


Melodic 

^^1   siqn 

6  [77  6 


i 


^^Ft=i 


J  jij.j  j.:^^-^  J  \rT^ 


408 


fci 


s 


^ 


±1^ 


Z2i?f:3zii:t 


s-f-^- 


•i^T-^ 


^^ai^^^^ 


pM-^ 


409 


ggffH-r^c^^^=^=i^^g?j:JF^ 


410 


84 


THE   MOON'S   REPLY 


4" 


m 


M.  A.  L.  Lane 
Allegro  moderato 


W.  W.  Gilchrist 


^ 


^^m 


% 


1.  Oh,    tell     me       a     sto    -    ry,  Queen  of    the  night!  Long  I    have 

2.  My  child,  time     is      fly  -    ing;    I     may  not    stay  1   Far  must   I 

9 


EE 


§ 


* 


I 


wait  -   ed        for       your     light ;  And    soon      I    shall  miss     your 
go        ere        dawns  the      day  ;    My  course  knows  no    turn  -  ing, 


i 


^-^—f- 


^ 


^ 


ra   -  di  -  ance  bright.      Sail  -  ing,    sail  -  ing      in       glo 
pause    or     de  -    lay,       Clear     my     path -way     is        ly 


mg. 


i 


Gertrude  E.  Heath.    Adapted 
Moderato 


UNDER  THEIR  BLANKET  OF   SNOW 

Catherine  C.  Myers 


412 


t^ 


g^ 


^ 


&^ 


-^ 


1.  Down  un-der  their  blanket  of  shin-ing snow, The  flowers  were  ly  -  ing  a  - 

2.  Theflow-erswerewakedintheir  CO- zy beds  By  sounds  of  the  soft  fall-ing 


:fc 


-^ 


^ 


^ ^L> L 


EE 


3: 


S 


r^^ 


sleep;  And  ev  -  'ry      ice -bound  brook  be-low  Lay  locked  in  a  drow-sy 
rain;  They  knew  the  hap-py    sum-monsmeantA  call   to  the  glo  -  rious 


^ 


3 


I 


^ 


^ 


slum  -  ber      deep.     Locked    in       a     slum  -  ber     deep.  The 

world    a    -     gain, —    Call        to      the  world     a   -    gain  1  The 


^ 


p-^ 


V    V    V- 


^ 


-«- 


i 


rob -ins  a -way  in  the  sun -ny  South  Talked  of  their  far  northern  homes,  And 
brooks  now  set  free  from  their  i-cy  bonds,  Mer  -  ri  -  ly  bounded  a  -  long,    A  - 


EE 


-^ 


^ 


--^ 


¥==^ 


car  -  oiled    mer-ri  -  ly,    mer-ri  -ly,  "Wait    till  the  sum-mer  comes.' 
way      o'er     peb-bles  and  moss-y  stoneSj'Sing  -  ing   a    rip  -  pling  song. 


Chapter  VIII 

THE   MELODIC   PROGRESSIONS   5  J$4  5  and  6  b?  ^—Continued 


85 


Melodic 
413  progres- 
sion 
5  #4  5 


tei^^te^^pg^^^^^g^^^i 


ifti 


mM 


b^fbz*-? 


m 


415 


JWt 


a^ 


N.     I  >>,     K    ^ 


P 


pg^-H-i4^^^^'<^ 


W^   ^  ^\'i=^ 


*— ttw-# 


aiY  NATIVE  COUNTRY 


Wordsworth 

Andante  non  troppo 


Dr.  J.  Mainzer 


« 


gi^^^ 


^^ 


-* — =^ 


J——S——(g- 


417 


i 


1.  Land  of     my    fa  -  thers  I  pre-cious  un  -  to     me,  Since  first  thy 

2.  My  coun-try  1  dear  -  er     far  than  life     is    dear,  If      I      for 

ft 


^ 


^^^S 


^ 


'Z3 


hills       and     val  -  leys      I      could  see, 
get         thy  prow  -  ess,    nev  -  er     more 


When   of      thy 
Be      thy     un 


m 


P^^EEEf 


nrrr  "itt 


s^ 


^-i — ^ 


^      W 


gal  -  lant  chiv-al  -  ry      I    read.  And  hugg'd  the  vol  -  ume  on  my  sleepless 
grate-ful  son  al-lowedto  hear    Thy  green  leaves  rus-tle   or  thy  tor-rents 


# 


k 


T^     ^ 


^^Ez^ 


^^ 


bed,       And  hugg'd  the  vol-ume  on    my     sleep  -    less         bed. 
roar,       Thy  green  leaves  rustle    or    thy     tor     -      rents      roar. 


86 


EVENSONG 


M.  L.  Baum 

Andante  espressivo 


F.  SiLCHK* 


^ 


^^^:^tm 


418 


S^ 


-^—^ 


1.  Moth  -  er,    I    am    wea  -  ry         Play-ing   all  .    .     .     the    day; 

2.  Now    be -gin  a      sto  -  ry,  Let  your  voice  .     .     go     slow  — 


i 


m^. 


n 


S^ 


««t:# 


Such     a    ver-y  sleep -y  head         On  your  arm.     .      I       lay; 
Some-thing  I    have  oft  -  en  heard,       Of  the  long .     .      a  -  go ; 


m 


^^^ 


^^^ 


^ 


r — 1^' 


■^ — *- 

All     the   day  has  been  so  glad,       All    the  bright  and  hap-py  hours ; 
Sto  -  ries  that  you  used  to  hear      Lean  -  ing   on  your  mother's  knee, 


^^ 


V=tg 


-^F=i^ 


I    ,.|  ^    fa^-1^ 


0    I  M. 


Chil-dren's  eye-lids  now   .    .  are  drooping, Just  like  fold- ed    flow'rs. 
When  you  were  a     child,     .     O  moth-er,Tiredwithplay,likeme.  .  . 


Melodic 
progres- 
sion 
6  b7  6 


4 


m 


m^m 


u 


4-°  ^h  rirrrTg^^fprr^'tT^iig^ 


u 


^^^^^^^^ 


H*-#- 


T 


iS»- 


^    j*^^-    l-ygS ^-Li 


gy.   ■   tf^' 


422 


iAi^ 


'^^^^^^mm^i\^T-AM^m 


PUSSY  WILLOW 


87 


Elizabeth  Foulke 
Moderate 


IsiDORA  Martinez 


m 


423 


4^=t 


1.  In   her  dress  of    sil  -  ver  gray, Comes  the  Pus  -  sy   Wil  -  low  gay, 

2.  Did   she  live  once  long  a  -  go      In      the  land    of      ice  and  snow? 


Mi 


^ 


iEES 


^E^ 


:^^£ 


S^ 


P 


Like 
Was 


lit  -  tie 
first  by 


Es-ki 
po  -  lar 


mo         Clad   in     fur  from  tip     to     toe. 
seas       That  she  made  such  coats  as  these  ? 


Wh  f  i  r.m 


i 


-# 0~ 


^^ 


1^=1: 


On-  ly  Moth-er    Wil -low  knows  How  to   make  such  suits  as  those, 
Who  can  tell?  We    on  -  ly  know  Where  our  Pus  -  sy     Wil-lows  grow, 


-l-r¥  J  J^U^^g^ 


¥ 


t2=^ 


How  to  fash-ion  them  with  skill,     How  to  guard  a -gainst  a      chill. 
Fuz-zy  lit -tie  friends  that  bring   Promise   of    the  com-ing    Spring. 


Anonymous 

Con  grazia 


THE   VOICE  OF  SPRING 


^^^^^m± 


fe3^: 


:#* 


i 


Frank  G.  Cauffman 

9 


424 


1.  I    . 

2.  I    . 


Ml 


^ 


am     com    -    ing,  lit   -   tie   maid  -  en  I  With  the  pleas  -  ant 
am     com    -    ing,    I        am   com  -  ing  1  Hark  1  the  lit    -  tie 


22 


? 


^- 


sun   -   shine   la  -  den, With    the    hon  -  ey         for  the   bee, 

bee  is     hum-ming.See  1  the   lark      is  soar    -    ing  high. 


tt 


ii 


t 


^ 


^w=^ 


m 


^ 


With      the  bios  -  som  for 
In  the  bright  and   sun 


the      tree,  .  .        With  the  flow'r  and 
ny      sky,  .  .        And  the  birds  are 


^ 


t 


fe 


with     the   leaf, —         Till  I 

on      the  wing, —        Lit    -     tie 


come      the    time         is     brief, 
maid  -  en. 


now         is  Spring. 


88 


Chapter  IX 

THE   MELODIC   PROGRESSIONS  5^5  and  6  Vl  6—ConHnued 


V4j.   j^J-rTf-ll'   r   fTr=i 


^ 


426 


s 


1=^=^ 


»-^ 


£E^ 


^P^=4=g^ 


I 


p^^ffFfifffl=Nfa^  r  mffas 


427 


1=^3: 


* 


tes 


4^8ffireM2^3 


^ 


*=zi 


S^^ 


^    f      ^      f-^ 


^'\^      ^      ^ 


tea 


429 


s 


FEH^^-^^XGffm^ 


5^=# 


i 


itea 


430 


gp^jTf 


j|j.j'jr  J 


}=»t::^ 


THE  ROBIN'S  JOURNEY 


i 


Celia  Standish 
Andante  con  ntoto 


W.  W.  Gilchrist 


S^f 


431 


i 


■M=±. 


iH_gy        ^ 


i 


1.  Home  from  the  land  of   the  sum-merand  sun,  Andbackto   the  bloomof 

2.  Far  from  the  coldjwhen  the.  summer  had  fled,  Andbackto    the  skies  of 

9 


^^:^:;^ 


Q=5^2^a 


£ 


^^ 


:sr=:pL 


:=t: 


spring,      A   rob-in    so  mer-ry,whenwin-terwasdone,Camefly-ing  on 
blue,  A-waywiththe  daisies  the  robin  had  sped.  Till  spring  should  come 


89 


^ 


^ 


m 


r^     p 


tire-  less  wing.        Hestopp'dfora  momenthisnorth-speedingflight,The 
back     a  -  new.       Then  southward  he  hastened  his  passage  so  fleet,  And 


te? 


e 


»  ^  \m 


^^ 


e 


^ 


5£=K 


flowers  to  greet  by  the  swift  river  side ,  And  heard  the  soft  voice  of  the  ripple  s  so 
came  to  the  silvery  billows  once  more,  Where  waves  of  the  ocean  were  whispering 


Ht:^ 


rail. 


9  a  tempo 


-¥=-^ 


S 


^ 


^^ 


bright,  "We  haste  to  the  o  -  cean'stide; 
sweet,"  Ofriend.we have  met    be-fore  1 


.    Soon  to  the  lands  o'er  the 
Far  have  you  been  from  the 


m 


t 


^^ 


bil  -  lows  so   wide       A  thought  of  the    woods     we'll  bring," 
south-ern  sea  shore,    But  well  we    re  -  mem   -    ber   you.".  , 


Key  of  Dfr 


i|a^n^ggsa  i#^  I  Ji ,11  J,  JL 1 1  .(^M 

3  4     3  6  [77     6 


i^^^ 


^^^g^^p 


t 


Melodic 
.^^  progres- 
4o^  sion 

6  l?7  6 


433 


fe 


s 


?Eip: 


#  p  0\W- 


^^QL,4ppp p^'ijb*; jijjkji^ 


i 


^ 


T 


Fp^ 


^5|.g^-jgJ.i^434 


En 


t^jjaxgijsgga^zajcjj^i^^ 


435 


90 


436 


i 


s 


U=^tA 


W^^-4-4 


«tZ3t 


^ 


:£is*i' 


^5^Kf^^ 


1/ 1>  1^ 


^ 


437 


i 


:S: 


^=ii: 


^ 


^ 


:5?z:at 


THE  ICICLE  LESSON 


From  «•  Little  Folks  " 
Allegro  vivace 


W.  E.  Appleton 


««ii^^^^^^ 


^=p 


^=^ 


e^ 


m 


1.  An     i    -  ci  -  cle  hung  from  the    eaves, 

2.  You  see    it     was  fool  -  ish,  my     dears, 

9 


A   tear   ran    down  its 
So  cross  and   sad     to 


5^ 


'^ 


nose 


,      Then  it    said, "  It    is    time  for   the  new  green  leaves,  And 
get ;  If    the      i  -  ci  -  cle   nev  -  er    had  burst    in      tears,     No 


mi=t^^ 


£^gTr"f=-^ 


birds  and  the  things  like  those,like  those, The  birds  and  the  things  like  those.  "All 
doubt  it  would  hang  there  yet,thereyet,No  doubt  it  would  hang  there  yet.  What- 


fcS: 


^^ 


Et 


eE=e 


S 


day  there  it  hung     in   wind    and  sun.    And  wept  with  a      wo  -   ful 
ev  -  er  goes  wrong  we'll  not      for  -  get    The      i  -  ci  -  cle,  you     and 


i 


b^ 


^^ 


rzs    9 


S 


^ 


^^" 


air; 

I,  • 


It  grew     so   weak    it  could  scarce  -  ly  speak,  And  at 
But  try     our   best     to      be    self  -  pos-sessed.  You  and 


i 


i^ 


1^^ 


^ 


^^E=i 


W- 


night        it     was  -  n't   there, 
I,        and    nev  -  er     cry^ 


And    at   night  it 
Oh,    no  1  nev  -  er, 


was  -n't    there  I 
nev  -  er     cry  1 


Rounds^ 


91 


Mary  Stanhope 

1 


RAIN 


M.  James 


^m^ 


geii 


439 


i 


Pit  -  ter,  pat  -  ter,  come  the  rain-drops, Tru-ant  raindrops,from  on  high  1 
2  9.3 


^ 


i 


w^=^ 


Z2 


When  the 

3 


sun        comes  he 

9 


will         catch        them, 


^- 


^^ 


kl±: 


^^- 


""^ 


And  will  draw  them  by     a    rain  -  bow  Back  a  -  gain  with -in  the    sky! 


SONG  OF  THE  BELLS 

9 


^}i+.^J^^^^^^^^=?fr^^a 


440 


i 


* 


Hear  the  song  the  bells  are  sing-ing,bells  are   sing  -ing,bells  are  sing  -  ing, 
29  3 


^ — 0- 


-^m 


pasp^ 


'^m^. 


m 


While  so  sweetly  they  are  ring  -  ing,they  are  ring  -  ing, they  are  ring  -  ing. 
3  9  1 


i 


I 


11 


~0-r 


Ding,     dong,     ding,       dong,  ding,      dong,         ding,       dong. 


i 


^ 


THE  BLACKSMITH 

9      _ 


t=i 


^ 


441 


£ 


E5E^ 


Z2 


Be  -  side  his  bright-ly  glow-ing  forge, There  stands  the  black-smith  strong. 
2  93 


^ g— — y — [_g — IZg         ^   — ^ 


^ 


^ 


l^. 


fe^^ 


We  hear   the  sound  of  might  -  y   blows  Ring  out   the  whole  day   long. 
3  1 


^ 


Z2 


Cling, 


clang, 


cling,       clang,clang,cling. 


^  Divide  the  chorus  into  sections.  Each  section  should  sing  all  the  staves  consecutively,  the  second  section 
beginning  at  i  when  the  first  section  has  reached  2  ;  the  third  section  beginning  at  i  when  the  second  section  has 
readied  2,  each  section  returning  from  the  end  to  the  beginning  and  singing  through  the  Round  as  many  times  aa  the 
teacher  may  direct. 


92 


THE  WINDS 


i 


M.  L.  Baum 
\mf^ 


M.  James 


i 


442 


n=^- 


1 


ii-±± 


\=^ 


00 
2/ 


wm. 


3 


I     am  West  wind,breath-ing  low ! 
t  8 


s 


t 


-^s>- 


i 


Fresh  and  strong  and  cool  I'm  blowing,  I 
3/ 


am 


1^ — 
East        wind  1 


n 


iEEi 


^ 


KJ  ^P 

Hushl 


Hushl 


For     I     am  South  wind,soft  and  slow. 


THE  BICYCLERS 


M.  L.  Baum 
1 


M.  James 


t^rr—r 


^ — ^- 


£ 


ftzi-^r-r 


W=-V^- 


443 


^ — ^ — ^ 


SE 


i 


:4: 

Wheel-ing,whirl-ing  like  the    breez-es,Thro'  the  sun  -  ny  air     of  spring 
2  9,3 


&^ 


P 


^ 


^^3^ 


^=t: 


f: 


i^ 


Rac  -  ing  with  the  fleet  cloud  sha-dows,  Swift  as   birds  up  -  on    the  wing  1 
3      .  .  .  1 


&-# 


w—^ 


-^ — ^ 


^ — ^ 


^: 


gjj^i 


Now 


we'll 


stop  1 


Off  we  hop  1 


FLOWER  THOUGHTS 


Christina  Rossetti.    Adapted 

1 


Jane  Morris 


»^ 


A-=^^^ 


i 


i^ 


Hope  is  like     a  slen  -  der  hare-bell,  All     a -trem-ble  from  its  birth; 
2  3 


r=a: 


^ 


7^^^-=^ 


i 


^^g^ 


t^ 


I 


Love      is  like    a    fra-grant  rose,       Cheer-ing,bless-ing  all  the  earth ; 

3  1 


^ii^E^^ 


\^=i 


■^ ^- 


3^ 


-fS- # 


1^1 


<^— ^ 


Faith  is  like     a     li  -   ly  white,     High  up  -  lift  -  ed    in  -   to  light. 


i 


THE   INDIAN   BABY 

f  9 


93 


J.  M.  McLaughlin 


9    2 


^ 


1^ 


g 


445 


?2: 


^  r  r  'M 


s^ 


i 


Bye 
2 


lo. 


ba 


by  ;        moth  -  er  here  is  watch-ing  thee, 

9  9 


EE 


W 


Z2 


i 


Swing-ing   in    thy  birch-en   era -die  from  the 

8  t  i 


leaf  -  y     tree. 


»    1 


r^ 


^ 


fc 


PES 


Bye 


Bye    -     lo, 


Bye 


lo, 


bye 


lo. 


i 


« 


THE   MERRY   WINDS 


J446 


r^ 


M^m 


m 


V-R^=^- 


^-h^ 


P 


Pte 


Thro'  the  trees  the  merry  winds  go ;      sing-ing  a     song  sweet  and  low. 

^1  ill     -hr-H 


^fe&^E^E^ 


]^ 


^S 


^ 


fiiii 


tt 


Blow,  blow,     gent  -  ly  blow ;     blow, 

9 


blow,  gent  -  ly  blow. 


m^^j-AiAJ-^ 


^3=m 


-&^-^ 


-#-T- 


Blow  where  the  flowers  sleeping  lie,       Sing     them  lul-  la,  lul  -  la  -  by. 


m 


t 


SKATING 

9 


PURCELL       2 


^ 


447 


z^ 


-s"- 


i 


te 


Round  and  round  we    go,        While 

2  9 


the  north  winds  blow. 
3 


eg 


i 


1=t==^: 


Swift  -  ly     as     the  swal-lows  go.     A-  cross  the  sparkling   ice  we   fly. 

3  ^  1 


^^^^^^^^^^^^^ 


Round  and  round  and  to   and  fro,While  loud  the  cold  wind  whistles  by. 


PART  IV 


TWO-PART  SONG 


Chapter  I 


fe 

m^ 


448 


^ 


^ 


-0 — 0- 


0 — 0 


i 


pg^^ 


s 


ffi*^ 


* 1^ 


-^    'Q' 


^ 


s^^ 


449 


fe 


^ 


^ 


atz^ 


Ti^ *- 


450 


i 


^rg=^-J^^-MC-^^  I  M^-=^% 


*^ 


i 


n 


i 


^s 


j=* 


^-*- 


^ 


<v<     # 


^ 


451 


jip^ 


^*^- 


i^ 


-# ^ 


^ 


?^ 


j '^ 


^ 


i 


fe 


1 


^^ 


3S^q^»=^=3*f^^ 


^^=^ 


•^       ^' — ^ 


94 


THE  FAIRY  RING 


95 


m 


Alexander  Smart 
Allegretto 


James  Field 


^^^m 


452 


F=t 


1.  Let     us    laugh  and   let     us   sing,    Danc-ing    in       a    mer  -  ry     ring: 

2.  Like    the    sea -sons   of     the    year,  Round  and  round  we   cir  -  cle    here: 


^ 


3^^ 


tS^ 


iS 


^ 


I 


3 


W 


^^ 


i 


We'll    be     fair-ies    on      the  green,  Sport- ing  round  the  Fair  -  y  Queen. 
You'll    be    Sum-mer,  I'll      be  Spring,Danc-ing    in      a      fair  -  y      ring. 

9 


i 


^ 


^ 


THE   BEE 


From  the  German 
Tr.  by  Frederic  Field  Bullard 
Andantino 


Carl  Reinecke.    Adapted  by 
Frederic  Field  Bullard 


1.  Buzz,buzz,buzz  ;    bon- ny,bus  - y  bee  1      Take  from  ev'ry  friend-ly  flow-er 

2.  Buzz,buzz,buzz  ;    bon-  ny,bus  -  y  bee  !  Won't  you  please  give  me  some  honey 

3.  BuzZjbuzZjbuzz ;    bon-  ny,bus  -  y  bee  1      Now  we  give  you  thankful  greeting, 

9 


^ 


^ 


^ 


ia 


^— ^ 


g 


^ 


E 


^@^ 


Drops  of  hon  -ey     to  your  bow  -  er,Buzz,buzz,buzz  ; 
On  this  morning  bright  and  sun-ny,Buzz,buzz,buzz  ; 
Bread  and  hon-  ey  we    are    eat-ing, Buzz, buzz, buzz  ; 

9 


bon  -  ny,  bus  -  y  bee  1 
bon  -  ny,  bus  -  y  bee  1 
bon  -  ny,  bus  -  y  bee  ! 


I 


i^ 


^m 


96 


Chapter  II 

TWO-PART   SO^t^G  —  Continued 


454 


^ 


^ 


^ 


^=PC 


fe 


^ 


itzt^zm^ 


455 


i 


?2: 


^ 


? 


i 


^ 


e=* 


i 


P3 


•I     'Q' 


i 


456 


g^p_rir  rir-rr^^i 


fc 


t 


^-4.  JJJIJJJNJJIJJJ 


i*      # 


457 


153 


^E?3 


5 


It:* 


gC    ^   ^ 


rg^^?^' 


Si 


^ 


BRIGHT  THE  MOON  IS  SHINING 


97 


Andante 


i 


t 


i 


458 


llz^ 


1.  Bright  the  moon  is     shin    -    ing,       Clouds  with  sil-v'ry  lin     -      ing 

2.  Moonbeams  on    the  moun  -  tain,         For  -  est,  field  and  foun    -    tain, 


i 


1^ 


«=t 


^ 


klz:^ 


1.  The      sil  -  v'ry  clouds 

2.  With     her  bright  wand 


In     beau  - ty 
The  moon  is 


i 


t 


$ 


Slow-  ly     wan-d'rihgby     her    side,        Thro'  the  night  glide. 

Mak-ing  hill    and  val  -  ley   seem         Like     a      fair  dream. 


i 


5 


i^ 


f=* 


iS'- 


^ 1.^ , — 

slow  -  ly    wand-'ring     by       her      side, 
mak  -  ing    hill     and    val  -    ley      seem 


Far, 
Wrapped 


far     they      glide. 


in 


a        dream. 


I  'VE  A  MESSAGE 


P 


Mary  Bailey 
A  llegro 


W.  W.  Gilchrist 


^ 


_^_^ 


z^t*: 


459 


* — ^=^ 


fcit 


1.  I've     a  mes-sage,I've    a     message  That  the  south  wind  brought  to  me; 

2.  I've     a  mes-sage,I've    a     message  From  the  flow'rs  be-neath  the  snow; 

9 


1.  I've      a    mes-sage,a  mes-sage, 

2.  I've      a   mes-sage,a  mes-sage, 


South  wind  has  bro't    to  me, 
Sent  by  the  flow'rs  be  -  low, 


te 


r^ij  "ir 


^ 


^^it 


Tis      a  mes  -  sage  from  the  rob  -  in,  He     is     com  -  ing  back,  you  see. 
Just    as  soon    as     it      is  warm -er,' Twill  be   time  for  them   to  grow. 


^;=t 


S 


^ 


J*! J^J  ^-^v:?^|J: 


'Tis      the  rob 
When  the  air 


in's  mes  -  sage,  He        is     com -ing     back,you  see. 
is     warm  -  er,   'Twill   be   time    for      them  to  grow. 


98 


Chapter   III 

TWO-PART  SO'^G  —  Coniinued 


P 


f&^ 


m 


460 


-^ — ^ 


i 


ra 


e3 


i 


-^'- 


1^ 


461 


i 


!^- 


^ 


^H-^^#^^^il^^^ 


js^-^ 


^iip 


^- 


i 


I'. 


^ 


i 


:#-*^-^-s^ 


^ 


:^: 


^^  '  >^" 


i^ 


^^jB^^^^^ 


462 


I 


rs^ 


i 


^iz«t 


^J 0- 


2^ 


|g^^Te-^4^Mggg1fffP^P^^I 


463 


^ 


^ 


^-^ 


=^^P^ 


at:* 


e^ 


FLOWER  DANCES 


99 


From  the  German  by  Mrs.  Anderson 
Allegro  leggier o 


^ 


^^r^r?T^^:^f^^J-^-bH^ 


464 


S3 


1.  In     May   the  val -ley  -  li  -  lies  ring,Their  bells  chime  clear  and  sweet ;  They 

2.  The  blossoms,gold  and  blue  and  white,  Come  quickly, one    and    all;      The 

3.  They  dance  with  ev -'ry  pass-ing breeze  That  chances  by  their   way,      Un- 

9 


fefcCTS 


m^ 


s 


p 


-ph-^ 


-^-i^ 


^^ 


±*=^ 


^^ 


^ 


ii=^ 


cry,"  Come forth,ye       flow-ers    all,  And  dance  with  twinkling    feet." 
tu  -    lip,    the   for  -   get  -  me  -  not  And   vio  -  let,  hear  the      call, 
til      the  leaves  bend   from  the  trees  To   watch  their  mer  -  ry      play. 


i^^^^i^ 


^ 


MORNING 


Louise  Stickney 
Moderato 


F.  SiLCHBR 


^=j^-n^ 


465 


z± 


iEi: 


^^ 


1.  See  where  the  sun    in    splen  -  dor    Is  mounting    to  the     skies  1  His 

2.  So      fair    the  face  of    morn  -  ing  I  Why  should  your  eye-lids  keep  Their 

9 


^ 


-^ 


W:^ 


1^3 


-.gr-m- 


-*— * 


^ 


^^ 


g 


W- 


W- 


dai  -  ly  course  be  -  gin    -   ning, —  O      chil  -  dren,you   must   rise  1 
cur-tainsdown  when  sun   -beams    In      all       the     win  -  dows  peep  ? 


£^^ 


^S 


^-#-f- 


lOO 


Chapter  IV 

TWO-PART   SO'^G— Continued 


466 


I 


Sl-f-fjli^ 


i 


I? 


r^nr-r[  ij  1^ 


v-^- 


gj      I  ^    J  I  <rJ   '.\=^      I  ^ 


467 


I 


fe 


^ 


*#* 


g>^  IL 


-W — *- 


122: 


468 


fm 


^ 


^ 


^ 


i^ 


3^^ 


A^l±^\A^. 


p^ 


469 


I 


=*=F 


m 


-p=^ 


^ 


& 


^ 


^ifF=f5: 


-^ — ^- 


^^ 


HEIGHOI    DAISIES  AND   BUTTERCUPS 


\  fl<^V- 


i 


Jean  Ingblow 

,         Allegro 


t^-r- 


i^-J-^ 


J.  M.  McLaughlin 
9 


> 

J # 


470 


s 


^ 

^ 


1.  Heigh    -    o  1  dai    -  sies     and     but  -  ter  -  cups,  Fair    yel  -  low 

2.  Heigh    -    o  1  dai    -  sies     and     but  -  ter  -  cups,  Fair    yel  -  low 

9 


^ 


i 


gjt-J^— j^ 


5 


daf  -  fo   -  dils,  state  -  ly       and        talll  O 

daf  -  f o   -  dils,  state  -  ly       and        tall  1  A 


when    the     wind 
sun  -  shi   -  ny 


ftjEi;^ 


Pi 


f^^ 


s 


^m 


m. 


wakes,    how       they        rock        in  the        grass    -    es,         And 

world       full         of  laugh  -   ter         and  lei    -    sure.        And 


i 


^ 


^ 


i 


^ 


p 


dance    with      the      cuck  -  00  -   buds   slen    -  der      and    small, 
fresh  hearts     un    -   con  -  scious    of        sor  -   row      and   thrall. 


i 


^^ 


xi^— j^-^ 


IdLj? 


Chapter  V 

TWO-PART   ^O^Q  — Continued 


i 


^^ 


55? 


471 


^ 


WEA 


% 


i 


^ 


^ 


^ 


^ — ^ 


riT^^^E^a^si^ 


472 


m 


s — * 


f^-^ 


i 


3 


473 


^ 


y~nr 


W- 


■1^—^ 


i^ 


P^ 


^^ 


-i^--^ 


?s> — y 


474 


i 


^ 


g^H^^^^ 


lEEfi; 


Y  \V   ^ 


SOU  j;,^^tj^bt#i%f.i&4^^ 


MAYFLOWER 


103 


Celia  Standish 

Allegro  moderato 


C.  S.  CONANT 


-m ^ 


475 


-^ 


^ 


i^s. 


^2=1: 


1 .  Do  you  know  the  wind's  low  murmur  Whisp'ring  from  the  golden  west  ? 

2.  Can  you  find  the    shy  may-flow  -  er,  Hid- ing  low    a-mong  its  leaves? 

3.  In     the  field  and  by    the   riv  -  er,  Have  you  found  the  vi   -  o-let? 

4.  All    the  world  is    full    of  beau  -  ty    As      it  wakes  from  out  its  sleep : 

9 


t^ 


a 


^ 


5 


w— ^- 


i 


tfc 


^^P^ 


w 


t=F 


Do     you  know  where  lives  the  rabbit   In    the  home  he  loves  the  best  ? 
Do     you  know  where  in  the  tree-tops,  O  -  ri  -  ole  his    era  -  die  weaves  ? 
Have  you   in  the  wood's  deep  shadows  Face  to  face  the  squir  -  rel  met  ? 
Ev  -  'ry  twig  and  leaf  and  flow  -  er  Has    its    se  -  cret  sweet  to  keep. 


ffi^ 


S 


M.  L.  Baum 

Andante  tranquillo 


IN  A  BOAT 


Carl  Reinecke.    Adapted  by 
Frederic  Field  Bullard 


t=^ 


'-f=m^ 


-f=^ 


t=)C=^ 


s 


476 


u=^- 


-^-k->- 


1.  Glid- ing  we  go,        so   si-lentandsoslow;  Under  low-hung  branches  creep, 

2.  Dreaming  we  float,     as  cradled  in  our  boat ;    Not  a  rip-ple,not  a  sound, 


f^t?:^^?|:j^^^^^^^=*?l 


S 


^^ 


m 


^^==^- 


i^=t^ 


t5=^ 


^ 


22 


Where  the  noon-day  shadows  sleep,  Glid-  ing  we   go,       si  -  lent  and  slow. 
Noon-day  peace  is     all     a-  round  ;  Lulled  in  our  boat,dream-ing  we  float. 

9 


^ 


>       h       K    ^ 


^ 


^ 


m 


I04 


Chapter  VI 

TWO-PART   SONG  —  Continued 


All 


^ 


f 


-d ^ 


g 


i 


ifii 


1^ 


1 


1=t 


-^ — ^ 


22: 


1^ — p^ 


T^ * 


i 


tf 


478 


H 


-^ ^ 


^ # 


3 


FTT^ 


^^ 


3fc=_^ 


i 


y 


3 


^^m 


t^ 


^=^ 


i 


tto 


Sg^^p3^P^ 


479 


111      0  J 


i 


¥=# 


iiiU  JUiiU  J'i^^'rrr 


480 


*t 


^^^ 


fe 


g^l^-:jti3j| 


y 


» 


i  .^J  ^ 


^^^ 


^^P 


FLAG  OF   OUR   NATIVE   LAND 


105 


Nathan  Haskell  Dole.    Adapted 
Allegro  maestoso 


J.  M.  McLaughlin 


S 


S 


481 


-^^ 


1.  Flag         of      our     na  -  tive  land, 

2.  Red      stands  for     val    -   or  strong, 

3.  Flag         of      our     na   -  tive  land, 


Red,     White,  and  Bluel 
Blue         for     the     sky, 
Be        with  -  out   stain, 


#-^ 


3 


i 


Bright  deed  and  pur -pose  grand  Shine  in  each  hue. 
White  is  for  pu  -  ri  -  ty,  .  .  Stars  shin  -  ing  nigh. 
Wher  -   e'er     thy    folds    ex  -   pand.        Blest         be      thy    reign ! 


t 


^ 


-F 


-<SH 


^ 


? 


Wher  -  e'er  we  see  thee  wave,  There  we  know  can  dwell  no  slave. 
Each  star  a  splen-did  state.  Broad  do-main  and  cit  -  ies  great. 
Deed  wrought  and  bat  -  tie    tried.    Flag     for  which  our    fa  -  thers  died, 

9       .  ,  ,  9 


^ 


^S^^ 


% 


^ 


^g 


ly  the  pure  and  brave,  Strong  hearts  and  true  1 
ing,  in  -  vi  -  o  -  late.  Gifts  from  on  highl 
be     the    cher-ished    guide        God       shall      or-dainl 


i 


io6 


Chapter   VII 

TWO-PART   ^O^Q  — Continued 


482 


#b^  ^  f T^ t—p — i)— d— 1 ,    ^   -^ — -^ \ 

fi^^-H^P _1 p ? — ^ — J — a^ — » 1_ J 

/  b  a  ^  i^j^^  1    r    1  r  1 1  i-^-F — r — Ti 

483 


Efe 


^^ 


^^^ 


-^- 


f^¥^ 


Q-  1^4    s> 


i 


I 


^^ 


484 


^ 


WZZML 


^— '^^ 


g?  . 


ii 


P^d^ 


P 


^-¥- 


^ 


■^?-r- 


I 


485 


fe; 


IP 


gH^I^^B^^T^^^^ 


LULLABY 


107 


Isaac  Watts 

Nixon  Waterman 

Tranquillo 


[EE 


3^=E^. 


F.  BlANCHI 


e 


1.  Hush,mydearllie  still  and  slum-ber  1     j  J^"^;^    f au'.f  J  ^o"  %^ 

„,  ,  ., ,       ,,    . ,  ^,      J         .  (  Know  that  round  thee  dwells  a 

2.  Sleep  my  child.and  mid  thy  dreammg,     -j  ghieldthy  rest  from   ev  -  'ry 


486 


Efc 


^^ 


pgEEJEl^^^ 


P — ^-^J— ^ 


lEIH^ 


t 


t2=^ 


bed  1  Heav'nly  blessings  without  number,  )  /-  ^*^i    fallinp-on  thv  head 
head,  Heav'nly  blessings  without  number,  j  >  &  ^ 


charm ;        An-gel  faces  brightly  beaming 
harm; 


An-ge  faces  brightly  beammg  )  shield  thy  rest  from  ev'iy  harm. 

An-gel  faces  brightly  beammg  )  ■  ^  •' 


dJ 


Si^ 


El2=jz:^ 


-^^-^ 


m. 


SLUMBER  SONG 


i 


Caris  Brook 

Andante  espressivo 


W.  W.  Gilchrist 


P f^A 


±dt 


^^\ 


487 


V- 


i_ u f p 

1.  O     blue  eyes,  close    in     slum 

2.  O    wind*    a  -  mong  the      ros 


ber;  O      bird  -  ie       on    your 
es.  Soft  through  the  win  -  dow 


^: 


*^S4 


g^-j- 


g 


3 


^ 


1.  O      blue  eyes,      close      in 

2.  O      wind       a  -   mong    the 


slum 
ros 


ber ;    O  bird 

es,    Soft        through 


16 

the 


i 


E£ 


^-^ 


riL 


::!: 


^ 


nest,  Sing  to    my  wea-ry    dar    -     ling   A     lit- tie  song  of  rest.  .    . 

creep.       And  with  your  soothing  mus    -   ic  Lull  ba-by  off  to    sleep.     . 
,  ,  ^        rit.    .    .    .    .  ^ 


^ 


'^. 


i 


tie  song  of  rest, 
by    off   to  sleep. 


on  your  nest.  Sing  to   my  wea  -  ry      dar 
■window  creep,And  with  your  soothing  mu 


ling     A      lit 
sic   Lull  ba 


io8 


Chapter  VIII 

TWO-PART  SO-^G  — Continued 


488 


» 


=^==Fi^ 


±^ 


rziz^r^f^ 


pi-+-j-i^ 


^y 


:1==q: 


P^     4    J     J 


^=r«tzt^ 


<|   I  * 


489 


i 


* 


4=F 


3^i 


# ^ 


=#^=^ 


=F=f 


i 


i^ 


i 


^ 


4-    gy 


490 


m=P^ 


^ 


#1^ 


^ 


t^ 


^ 


-S>-r 


491 


^-^-s 


lu-m^ — r- 


itfc 


? 


^ 


0  m^- 


^->M^- 


HURRAHI    HURRAHt 


109 


J.  Frise 


J.  Frise.   Adapted 


m^ 


Vivace 


t 


5—-^     492 


4  #    I  # 


-n— ^- 


^      ^- 


1 .  Hur  -  rah  I     hur-rah  1      hur-rah  !  Let  our  mer  -  ry   voi  -  ces  ring ;     Hur- 

2.  Hur-rah  I     hur-rah  1       hur-rah  1  Let  our  voi  -  ces    all  keep  time  ;    Hur- 

5 


p^ 


i 


# — ^ 


-&-Z 


i-k 


U 


m 


i^c=fi 


-=i— • 


^ — ^ 


:tz=* 


i 


rah !      hur-rah  1     hur-rah  I  Let  us    all     to  -  geth-er  sing, 
rah  1      hur-rah  1     hur-rah  !    In    a  mer  -  ry,  mer  -  ry  chime. 

9 


'Tis  our 
'Tis  the 


^m 


i 


22 


« 


^^ 


ifcfe 


^ 


:^-^ 


■^L=3t 


^± 


■t^—^- 


% 


y 


fes  -  tal   day,let  us  all    be   gay,Let  us  put  our  ev  -  'ry    care  a-way,Let  us 
time  for  mirth,let  us  hap-py     be,  As  we  gai  -  ly  join   in  song  and  glee,Let  us 

9  9 


n 


'    ^     ii     ^   d 


^-^- 


5 


:W*^ 


^ -0- 


-^-9t 


n 


^=^=^^^=^ 


-0 — •*- 


? 


'^=^- 


-^ — ^ 


mer  -  ry     be,    'tis  our  fes  -  tal  day,      Hur-rah  1      hur-rah  1      hurrah  1 


W 


^ 


t 


^^ 


:*— it 


P=^^ 


:G>-: 


no 


Chapter    IX 

TWO-PART   SO-^G  — Continued 


^fe 


493 


^l&dt=t: 


FH£=^=Ei 


f 


l¥^^ 


i 


Lb2    !       ! 


E5 


^=3t 


izr^i^ 


494 


E^ 

-^ 

^ 

1^ 

— T ^ h 

:=4- 

-~f=^ 

^ 

CJ 

^F 

=^ 

_L_ 

— # — 

_._J_i_ 

--*- 

==^ 

i 

Sl 


495 


^mmm 


:*=*: 


^ 


^: 


s 


s^ 


i^^ 


-z::?^ 


I 
I 


^335: 


^ 


496 


i^-^^-h:t-^-h^^^%g^^ 


-F^-^ 


^ 


pE?3E^^ 


-^ ^- 


^ 


^^^^i 


THE  FLOWER  SE£D 


III 


Allegretto 


EB 


^ 


i 


1.  First       a  seed     so     ti     -     ny, 

2.  Soon       a   bud     ap  -  pear  -  ing, 

3.  Grow  -  ing sweet-er,     sweet-  er, 


W.  W.  Gilchrist 


Si^ss 


Hid  -  den  from    the     sight ; 

Turns    in  -  to  a       flow'r ; 

Ev  -    'ry    hap    -  py     hour, 


m^ 


497 


i 


^-- 


^ 


e 


^ 


Then    two  pret  -  ty      leaf    -    lets        Strug-gling  toward  the  light. 
Kissed    by  gold  -  en      sun   -   shine,    Washed  by  sil  -  ver     show'r. 
Kissed    by  gold  -  en      sun   -   shine.    Washed  by  sil  -  ver     show'r. 


^nj=p=m 


^ 


I   LOVE   THE   CHEERFUL   SUMMER   TIME 


i 


Allegro  moderato 


m 


e 


:4it 


^ 


^^^^ 


/^^V- 


498 


1.  I      love  the  cheerful    sum-mer  time  With  all    its  birds  and  flow 'rs,  The 

2.  I      love  to  hear  the    lit-  tie  birds  That  sing  a-mong  the  trees,       I 

3.  I      love  the  bright  and  glo-rious  sun  That  gives  us  light  and  heat,       I 


^^ 


i^^^^^^^^^S 


E^ 


±=i 


:*H« 


^^ 


I 


grass  -  y  lawn  be-neathmy  feet,  The  cool,  re- fresh -ing  show'rs. 
love  the  gen  -  tie  mur-m'ring  stream,!  love  the  eve  -  ning  breeze, 
love   the  pearl  -  y     drops  of    dew  That      spar-kle  'neath  my      feet. 

fe:g         I     1 — ^~r , — =^=1^^^- 


■M 


W^^ 


S 


"^^m 


112 


Patriotic   Songs 


AMERICA 


S.  F.  Smith 


Henry  Carey 


m 


iEEi 


1.  My  coun-tryl     'tis         of     thee, Sweet  land      of  lib  -    er  -  ty, 

2.  My      na  -  tive    coun  -  try,  tbee — Land    of  the  no  -   ble  free — 

3.  Let  mu  -  sic    swell      the  breeze,  And    ring  from  all       the  trees,  . 

4.  Our     fa-  ther's  God  I      to    Thee,  Au  -  thor       of  lib  -    er  -  ty, 


i 


( 


i 


Of    thee      I       sing ;  Land  where  my     fa  -  thers  died !  Land  of     the 

Thy  name     I      love;  I      love   thy   rocks  and  rills,  Thy  woods  and 

Sweet  free-dom's  song;  Let    mor  -  tal  tongues  a -wake;  Let    all     that 

To  Thee    we     sing ;  Long  may  our    land    be  bright  With  free-dom's 


f-£"^^^f^ 


^4 


Pil-grims'  pride  1  From  ev  -  'ry     moun-tain  side.    Let  free  -  dom    ring  1 
tern -pled  hills:  My     heart  with  rap -ture thrills,  Like  that     a  -  bove. 
breathe  par-take ;  Let     rocks  their  si-lence  break, — The  sound  pro  -  long. 
ho  -  ly   light;  Pro  -  tect    us       by    Thymight,GreatGod,  our  King! 


THE  STAR-SPANGLED  BANNER 


Francis  Scott  Key 


John  Stafford  Smith 


^ 


t 


^ 


E43 


^3 


by  the  dawn's  ear  -  ly    light.  What  so 
thro' the  mists    of    the   deep,  Where  the 
when      free  -  men  shall  stand    Be    - 


1.  Oh,       say,   can  you    see, 

2.  On  the  shore,  dim  -  ly     seen 

3.  Oh,      thus    be     it       ev-er 


^^M^^ 


^ 


^ 


proud -ly     we     hail'd      at    the    twi-light's  last  gleam -ing,  Whose  broad 
foe's  haught-y       host       in  dread  si  -  lence    re    -  pos  -  es,   What     is 
tween  their  lov'd  homes    and  the  war's    des  -  o     -    la  -  tion;  Blest  with 


113 


^ 


^^ 


-\' 


J   ^  nr  CT- 


stripes  and  bright  stars  thro' the  per- il  -  ous  fight,  O'er  the  ram-parts  we 
that  which  the  breeze  o'er  the  tow  -  er  -  ing  steep,  As  it  fit  -  ful  -  ly 
vie  -  fry  and  peace, may  the  heav'n-res-cued  land  Praise  the  pow'r  that  hath 


^--4—^=^ 


g 


^^^ 


watched  were  so  gal  -  lant  -  ly  stream-ing  ?  And  the  rock  -  ets'  red 
blows,  half  con-ceals,  half  dis  -  clos  -  es  ?  Now  it  catch  -  es  the 
made        and   pre-serv'd  us       a       na  -  tion  1    Then      con  -  quer    we 


^^^ 


1=^ 


^m 


^ 


1 ' 

glare,    the  bombs  bursting  in    air.      Gave  proof  thro'  the   night   that  our 
gleam     of     the  morning's  first  beam.  In  full  glo  -   ry    re  -  fleet  -  ed,  now 
must,  when  our  cause  it      is    just,     And      this    be  our  mot-to :  "  In 


i 


i 


J  J  ^ij  J  J 


1^=1^ 


St 


^— p^ 


flag  was  still  there.     Oh,  .  .    say,  does  that  star-spangled  ban  -  ner   yet 
shines  on   the  stream. 'Tis  the  star-span  -  gled  ban-ner :  oh,  long   may  it 
God    is    our  trust !"  And  the  star-span -gled  ban-ner     in     tri-umphdoth 


^ 


g 


^ 


^ 


^ 


wave   O'er  the  land    of      the     free,  and    the   home    of   the   brave  I 


114 


HAIL,  COLUMBIA  1 


i 


Joseph  Hopkinson 
Maestoso 


^ 


Fyles 


^ 


-A^ 


1.  Hail,  Co 

2.  Im  -  mor      -  tal        pa 
3-               Sound,  sound 
4.  Be  -  hold  the  chief, 


lum     -      bia  1    hap    -    py        land ! 

triots,   rise       once      more  I  De   ■ 

the    trump        of        fame  I 
who     now       com  -  mands,  Once 


i 


t 


t 


Hail  1  ye         he 

fend  your  rights. 

Let  .  .     .  Wash 

more  to  serve 


roes 

heav'n 

-  born 

bandl 

Who 

de 

-    fend 

your 

shore ; 

Let 

mg 
his 

-  ton's 
coun 

great 
-    try 

name 
stands, — 

The 

i 


^ 


fought       and  bled       in  Free 

no           rude  foe,  with  im 

Ring  thro'     the  world  with  loud 

rock          on  which  the  storm 


dom's  cause.    Who 

pious  hand.     Let 

ap        -  plause  1 

will  beatl    The 


^^^^: 


-^ 


fought        and  bled  in  Free 

no           rude  foe,  with  im 

Ring  thro'    the  world  with  loud 

rock          on  which  the  storm 


^- 


dom's  cause,    And 

pious  hand,       In 

ap      -  plause  1    Let 

will  beat  1      But 


i 


-'^- 


when 

the 

storm 

of 

war 

was 

gone 

En 

vade 

the 

shrine 

where 

sa     - 

cred 

lies. 

Of 

ev 

'ry 

clime 

to 

Free    ■ 

•    dom 

dear, 

, 

arm'd 

in 

vir     - 

tue, 

firm 

and 

true, 

His 

115 


joyed  . 
toil .     . 
Lis 
hopes  . 


the 
and 
ten 
are 


peace 
blood 
with 
fixed 


your 
the 
a 
on 


val    -    or       won. 
well  -  earned  prize, 
joy    -   ful       ear; 
heaven  and     you  I 


w 

Let 

While 

With 

When 


i 


«: 


^ 


-^^-i^ 


in    -    de-pend-ence     be  our  boast,  Ev  -   er     mind -ful 

of  -  f 'ring  peace,sin  -  cere  and  just,         In  heav'n  we  place     a 

e     -    qual  skill,  with    stead  -  y  power,      He  gov  -  erns     in      the 

hope      was  sink  -  ing      in  dis   -  may,  When  gloom  ob  -  scured  Co 


i 


i 


^ 


-0   '     (* 


-^ 


what      it        cost,     .      Ev  -    er    grate  -  ful  for  the       prize, 

man  -  ly     trust,  That  truth  and    jus  -  tice  shall       pre   -    vail,  And 

fear  -  ful     hour     Of  hor  -  rid    war,    or  guides   with      ease  The 

lum  -  bia's   day,     His  stead  -  y     mind,f rom  chang  -  es  free.  Re  - 


Chorus 


Let    its      al  -  tar  reach  the  skies.  ^ 
ev  -  'ry  scheme  of    bond-age  fail, 
hap-pier    times  of    hon- est  peace 
solved  on  death,  or     lib  -  er  -  ty. 


>■   Firm,     u  -  nit  -  ed,     let      us      be, 


i 


0 0- 


^=s^=g 


Ral  -  lying  round  our      lib     -     er 


tyl 


As 


band     of 


^m 


5 


I 


broth  -  er$       joined.     Peace  .   .  and  .     .   safe  -  ty     we      shall  find. 


Ii6 


COLUMBIA,   THE   GEM  OF  THE   OCEAN 


i 


David  F.  Shaw 
Con  spirito 


David  F.  Shaw 


^ 


K}—^ 


^Sl 


1.  Oh,    Co-  lum  -   bia!    the   gem       of       the 

2.  When         war   wing'd   its    wide     des   -    o 


o  -  cean,        The 
la  -  tion.         And 


i 


fcr 


^^ 


m 


s 


p=» 


-f=^ 


i^^if  114- 


home  of  the  brave  and  thef  ree,  The  shrine  of  each  patriot's  devotion,      A 
threaten'd  the  land  to  de-form,  The  ark  then  of  freedom's  foundation,  Co- 


i^ 


P    # 


^ 


t^rtrj^ 


i 


ft '^      ^ 

world  of-fers  horn  -  age    to  thee  1      Thy    man-dates  make  heroes  as  - 
lum  -  bia,rode  safe  thro'  the  storm  :  With  the  garlands  of    vie  -  fry  a  - 


i 


^ 


^ 


a 


^ — i^ 


sem  -  ble,  When     Lib  -  er  -  ty's   form  stands  in  view  ;        Thy 

round  her,       When  so  proud -ly   she     bore   her  brave  crew,    With  her 


i 


fegq* 


f^ 


e 


2 


f-0—d 


-^-^ 


52=1^ 


w 


W: 


ban-ners  make  tyranny  tremble,       When  borne  by  the  red,white,and  blue  1 
flag  proudly  floating  be-fore  her,     The     boast  of  the  red,white,and  blue  I 


W^' i^\^jc^^-^%\v  -i^\uj^m 


When  borne  by  the  red,white,and  blue,    When  borne  by   the  red,white,and 
The  boast  of  the  red,white,and  blue,    The   boast  of    the  red,white,and 


i 


fcs 


^ 


w^-p 


# 


blue, 
blue, 


Thy  ban  -   ners    make      tyr 

With    her      flag     proud  -  ly  float 


an 
ing 


ny 
be 


^ 


^m 


aju 


^?Z 


trem  -  ble.  When     borne      by     the     red,    white,  and   blue  1 

fore    her,  The        boast      of      the     red,    white,  and   blue  I 


GLOSSARY 


TERMS   OF   NOTATION 


Staff, —  five    horizontal     lines 
and  four  equal  spaces. 


ZZ  Leger  Lines,  or  Added  Lii^s, 

"  — light   lines   below  and  a- 
bove  the  staff. 


3  A,  B,  C,  D,  E,  F,  G,  —  Pitches,—  the  first 
seven  letters  of  the  alphabet  by  which  tones  are 
designated. 

—      G  Clef, —  fixes  G    upon    the 
H^-g       second   line,  around   which 
it    turns.      The    staff    thus 
marked  is  called  the  treble  staff. 


Bars, —  vertical  lines  upon  the 

staff. 
A  Bar  is  one  vertical  line. 
A  Double  Bar  is  two  vertical 


'i 


lines  and  sometimes  a  tAz'ck  vertical  Hne 

6 


beats. 


A  Measure,  —  the  space  be- 
tween two  bars,  representing 
a  group  of  strong  and  weak 


7  Brace, —  a  vertical  line  which  joins  two  or 
more  staves. 


Notes :  — 
a)  c^ 

Whole-note,  —  an  open  note- 
head  without  stem. 

^)J 

Half-note, — an  open  note- 
head  with  stem. 

oj 

Quarter-note,  —  a  closed  note- 
head  with  stem. 

d)  J^ 

Eighth-note,  —  a  closed  note- 
head  with  stem  and  ong  hook. 

Rests:  — 

Whole-rest. 

^)  ^ 

Half-rest. 

0  X 

Quarter-rest. 
Eighth-rest. 

10 


i 


P^S 


P=P= 


The  Tie,  —  a  ciarved!  In© 
joining  two  notes  of  the 
same  pitch. 

It  indicates  that  the 

I    seconds    niot&    over    or 
under  th^e  tie  is  not  to 
be    repeated,  but    sus- 
taimd,  joined  with  the  first. 

The  Dot, — placed  after  a 
^  ^  ' ' '  note  lengthens  it  one-half ; 

thus  the  dot  after  a  half-note  takes  the  place  of 
a  qttarter-note  tied.  /^^"^m 

The  dot  after  a  quarter-note  takes  the  place 
of  an  eighth-note  tied.  r"     ^ 

12  The  Phrase  Mark, — a  curved  Ime  indicating 
the  rhythmical  grouping  of  notes. 

13  Breath  Maik,  —  a  comma  placed  above  the 
staff  to  suggest  a  place  for  taking  breath. 

The  Slur,  —  a  curved  line 
joining  two  or  more  notes 
of  different  pitch. 

It  indicates  that  the 
notes  so  joined  are  to  be 
sung  to  one  syllable. 

\^  rswaj  The  Hold  or  Pause,— a   dot 

under  or  over  a  small  curved 
Hne.  It  means  that  the  note  or  rest  over  or  un- 
der which  it  is  placed  is  to  be  held  longer  than 
usual. 

l5   ^  .  .^ — V    Staccato  Marks,— 

P      I      I*      I      P    P        direct    that   the 

9  0  tones  be  distinct, 

separated    from 

each  other.     The  wedge-shaped  marks  are  the 

most  emphatic  staccato  signs ;    dots    over   or 

under  the  notes  with  a  sweeping  curve  mark  the 

slightest  staccato.    The  latter  effect  is  called 

non  legato. 


117 


ii8 


17 


music    before  or 
repeated. 


The  Repeat,  —  dots  imme- 
diately before  or  after  a 
bar.       It    indicates    that 

after  the    dots    should    be 


i8 


ist  and  2d  Endings  —  signs 

Wu^e'Gdlh;^    indicating  that,  in  the 

repetition,    the    music 

marked  2d  time  must 

be  substituted  for  that 


^ 


under  the  sign  ist  time. 

19  Characters  affecting  Pitch:  — 

a)  jj  The  Sharp, —  raises  the  pitch 

represented  by  a  staff -degree 
a  half -step. 

b)  i?  The  Flat,  — lowers   the  pitch 

represented  by  a  staff -degree 
a  half -step. 

c)  i[  The  Natural,  or  Cancel, —re- 

moves the  effect  of  a  sharp 
or  flat. 

20  Interval,  —  the  difference  in  pitch  between 
two  tones. 

21  Melodic  Progression,  —  any  succession  of 
tones  in  a  melody. 

22  Scale,  —  a  succession  of  tones  within  the 
octave,  ascending  or  descending  according  to  a 
fixed  rule. 

23  Scale  Names, —  One,  Two,  Three,  Four, 
Five,  Six,  Seven,  and  Eight, —  the  names  applied 
to  the  successive  tones  of  the  major  scale.  Two 
above,  2  ;  Three  above,  3  ;  Four  above,  4,  etc. ; 
Seven  below,  7  ;  Six  below,  6;  Five  below,  5, 
etc., — the  names  applied  to  the  tones  above  and 
below  the  octave. 

24  Intermediate  Tones, —  Sharp-one,  Sharp- 
two,  Sharp-four,  Sharp-five,  and  Sharp-six, —  the 
intermediate  tones  which  may  be  introduced 
into  the  scale  ascending.  Flat-seven,  Flat-six, 
Flat-five,  Flat-three  and  Flat-two, — the  interme- 
diate tones  which  may  be  introduced  into  the 
scale  descending. 

25  Syllables, —  commonly  sung  to  the  succes- 
sive tones  of  the  scale :  i,  do ;  2,  re ;  3,  mi ;  4,  fa ; 
5,  sol ;  6,  la ;  7,  ti  ( or  si );  8,  do.      Intermediate 


syllables  ascending,—  Jfi,  di;  ^2,  ri;  {(4,  fi;  {(5, 
si  (or  sil);  jf6,  h:  descending,— b;,  te  (orse); 
1?6,  le ;  J75,  se  ( or  sel );  {73,  me ;  ^2,  ra. 

26  Keys  and  their  Signatures  :  — 

^z:  — 1|  Key  of  C, — no  signature;  i  is 

vl/  — la       on  the  first  line  below. 

Key  of  G,  —  signature,  one 
sharp ;  i  is  on  the  second  line. 

Key  of  D,  —  signature,  two 
sharps ;  i  is  in  the  first  space 
below. 

Key  of  A, — signature,  three 
sharps ;  i  is  in  the  second 
space. 


'jt  tf~~TI  ^®^   ®^    ^'  —  signature,  four 
^Ti       sharps ;   i  is  on  the  first  line. 


—a  ■^fa  ?[  Key  of  F, — signature,  one  flat ; 

ZTsJ^         ^ TI       I  is  in  the  first  space. 

~7    P  #TI  ^®y  ®*  B-flat,— signat 

~T^7  T|       flats;   I  is  on  the  th: 


s 


ure,  two 
third  line. 

Key  of  E-flat, — signature,  three 
flats ;   I  is  on  the  first  line. 


"rb      ll  Key  of  A-flat, — signature,  four 
-^    ^  W      flats;  I  is  in  the  second  space. 


27  Measure-Signatures :  — 

2         two-quarter   measure;  i.  e.,  two   quarter 

4  notes  or  their  equivalent  fill  the  measure. 

5  3  three-eighth  measure,  and  three-quarter 
Q  a    measure. 

4 

A  four-quarter  measure. 

(t 

cj  six-eighth  measure. 

28  Beat,  —  pulse ;  an  equal  division  of  the 
measure. 

29  Rhythmic  type,  —  time  values  equal  to  a 
beat.  When  the  quarter  note  is  the  beat  unit, 
the  rhythmic  types  found  in  this  reader  are : 


^ 


n- 


119 


30  Rh3rthmic  figure,  —  combination  of  rhyth- 
mic types  :  thus,      I h  is  a  rhythmic  figure 

equal  to  two  beats,  when  the  quarter-note  is  the 
beat-unit.  Rhythm  varies  according  to  the 
rhythmic  types  included  ;  thus 

|-J-J-J-j  and  [|-J^,^i^  differ 

in  rhythm  while  they  coincide  in  measure. 

31  Syncopation,  —  an  interruption  of  the  nat- 
ural pulsation  of  the  music,  bringing  the  strong 
accent  on  a  part  of  the  measure  usually  not  thus 
accented. 

32  Folk  Song, — a  song  whose  words  and  music 
have  originated  among  the  people. 


33  Folk  Tune, —  a  melody  which  has  originated 
among  the  people. 

34  Opera,  — a  drama  or  play  set  to  music. 
Grand   Opera,  —  a  serious  opera  in  which 

there  is  no  spoken  dialogue. 
Opera   Comique,  —  an   opera  with  spoken 
dialogue. 

35  Round,  —  a  vocal  composition,  in  which  the 
singers  begin  at  different  times  and  follow  each 
other  through  the  composition,  returning  from 
the  end  to  the  beginning  so  that  the  melody 
continually  passes  round  and  round, 

36  Two-part  Song,  —  music  arranged  for  two 


TERMS  AND  SIGNS   OF  EXPRESSION' 


Adagio  (a-da'jo),  slow  ;  literally,  at  leisure. 
Allegretto    (al-la-grat'to),    less    quick    than 

allegro ;  diminutive  of  allegro. 
Allegro    (al-la'gro),    quick,   lively ;    literally, 

cheerful. 
Andante  (an-dan'ta),  slow,  graceful ;  moving 

at  a  moderate  pace  ;  literally,  walking. 
Andantino  (an-dan-te'no),  the  diminutive  of 
andante  and  indicating  here  quicker  tempo. 
Animato  (a-ne-ma'to  ),  animated. 
Assai  (as-sa'e),  very. 
A  tempo   (atem'po),  return  to  first  rate  of 

speed. 
Cantabile  (kan-ta'be-la),  in  a  singing  style,  or 

very  legato. 
Con  brio  (kon  bre'6),  with  vigor,  spirit,  force. 
Con   espressione    (kon  as-pras-se-o'na),   with 

expression. 
Con  grazia  (kon  gra'tse-a),  with  grace. 
Con   moto  (konmo'to),  with   spirited  move- 
ment. 
Con  spirito  (kon  spe'r^-to),  with  spirit,  energy. 
1  Crescendo  (kra-shin'do),  gradxially 

increasing  the  tone. 
~'         -~  Diminuendo  (de-me-noo-^n'do), 

gradually  lessening  the  tone. 
Espressivo  (as-pras-se'v6),  with  expression. 
f,  forte  (for'ta),  loud. 
ff,  fortissimo  (for-tes'se-mo),  very  loud. 


Giocoso  (j6-ko's6),  humorous,  playful. 

Grazioso  (gra-tse-o'so),  graceful,  elegant. 

Larghetto  (lar-gat'to),  rather  slow ;  the  diminu- 
tive of  largo,  which  means  slow,  or,  liter- 
ally, large. 

Legato  (la-ga'to),  even,  continuous,  flowing; 
literally,  tied. 

Leggiero  (lad-je-a'ro),  light. 

Lento  (lan'to),  literally,  slow. 

Maestoso  (ma-es-to'z6),  with  dignity,  majesty. 

Marcato  (mar-ka'to),  distinct,  emphasized; 
literally,  marked. 

Marcia  (mar'chia),  march. 

mf,  mezzo  forte  (med'zo  for'ta),  half  loud. 

Moderato  (mod-e-ra'to),  moderate. 

Non  troppo  (non  trop'po),  not  too  much. 

pp,  pianissimo  (pe'a-nis'si-mo),  very  soft. 

p,  piano  (pe-a'no),  soft. 

Presto  (pres'to),  fast,  in  rapid  tempo  ;  usually 
one  beat  to  the  measure ;  literally,  quick. 

Rallentando  (ral-len-tan'do),  becoming  slow- 
er; literally,  abating.    Abb.  rail. 

Ritardando  (re'tar-daii'do),  slower;  literally, 
retarding.    Abb.  rz/. 

Sforzando  (sfor-tsan'do)  (>),  wuth  special 
emphasis. 

Sostenuto  (s6s-ta-noo't6),  sustained. 

Tranquillo  (tran-kwerio),  tranquil,  quiet. 

Vivace  (ve-va'cha),  gay;  literally,  lively. 


1  Webster's  dictionary  symbols  of  pronunciation  used  throughout. 


120 


INDEX    TO    GLOSSARY 


No. 

A 3 

A  dded  lines 2 

A-flat,  Key  of 26 

A,  Key  of 26 

15    3 

Bar 5 

Beat   28 

B-flat,  Key  of   26 

Brace   7 

Breath  mark   13 

C 3 

Cancel   19 

Characters  affecting  pitch 19 

C,  Key  of 26 

Clef    4 

D 3 

D,  Key  of   26 

Dot II 

Dotted  quarter-note    30 

Double  bar   5 

E    3 

E-flat,  Key  of   26 

Eighth-note    8 

Eighth-rest   9 

E,  Key  of 26 

F 3 

First  and  second  endings    18 

F,  Key  of    26 

Flat    19 

Folk  song 32 

Folk  tune    32 

Four-quarter  measure   27 

G 3 

G  Clef   4 

G,  Key  of 26 

Grand  opera 34 

Half-note    8 

Half-rest    9 

Hold  15 

Intermediate  tones 24 


No. 

Interval 20 

Keys  and  their  signatures 26 

Leger  lines    2 

Measure 6 

Measure  signatures    27 

Melodic  progression    21 

Natural 19 

Non  legato    16 

Notes 8 

Opera    34 

Opera  comique 34 

Pause 15 

Phrase  mark     12 

Pitches 3 

Pulse 28 

Quarter-note    8 

Quarter-rest 9 

Repeat 17 

Rests    II 

Rhythmic  figure 30 

Rhythmic  type 29 

Round    35 

Scale 22 

Scale  names   23 

Sharp 19 

Signatures,  Key-    26 

Signatures,  Measure- 27 

Six-eighth  measure 27 

Slur : .  . 14 

Staccato  marks    16 

Staff I 

Syllables    25 

Syncopation   31 

Tie : 10 

Three-eighth  measure 27 

Three-quarter  measure 27 

Two-part  song    36 

Two-quarter  measure    27 

Whole-note   8 

Whole-rest 9 


INDEX  TO  SONGS 


COMPOSER 


All  Through  the  Night Welsh  Folk  Song  63 

America S.  F.  Smith     . Henry  Carey  112 

April Julius  Altman W.  W.  Gilchrist  33 

At  Sunset John  G.  Watts Frederic  Field  Bullard  43 

Autumn Alexander  Smart 6 

Autumn  Leaves 47 

Autumn  Winds Stella  H.  Seed Russian  Folk  Tune  59 

Bee,  The Frederic  Field  Bullard Carl  Reinecke  95 

Bell,  The Jane  S.  Morris  28 

Bicyclers,  The M.  L.  Baum M.James  92 

Blacksmith,  The 91 

Bright  the  Moon  is  Shining 97 

Child's  Star,  The        John  B.  Tabb R.  L.  Brett  2 

Christmas  Song,  A Edna  Kingsley  Wallace W.  E.  Appleton  69 

Coasting Celia  Standish A.  Mari  16 

Cold  the  Winds  of  March Scandinavian  Folk  Tune  30 

Columbia,  the  Gem  of  the  Ocean     .     David  F.  Shaw David  F.  Shaw  116 

Cradle  Song Elizabeth  Prentiss J.  M.  McLaughlin  5 

Days  of  Spring M.  E.  Tupper 41 

Digging  Snow  Paths        Nathan  Haskell  Dole  .     .     .      Frederic  Field  Bullard  23 

Ding,  Dong        Mary  Vaughan L.  Edwards  4 

Do  Not  Delay G.  M.  Garrett  34 

Dream  Fairy,  The Thomas  Hood K.  Lambert  4 

Dreams Frank  Dempster  Sherman JV.  S.  Chase  25 

Dustman,  The        Mary  Vaughan M.  White  14 

Evening Anonymous A.  Harder  7 

Evening S.  Baring-Gould F.  Remsen  43 

Evening  on  the  Lake Nathan  Haskell  Dole Folk  Tune  49 

Evensong M.  L.  Baum F.  Silcher  86 

Fairy  Book,  The Abbie  Farwell  Brown W.  W.  Gilchrist  70 

Fairy  Jewels Frank  Dempster  Sherman     .      Frederic  Field  Bullard  55 

Fairy  Ring,  The Alexander  Smart James  Field  95 

Faith,  Hope,  and  Love Gollhard Ch.  H.  Rinck  17 

Fancies Frank  Dempster  Sherman     ....      Geo.  A.  Veazie  47 

Fire  Bells Celia  Standish Chr.  Fr.  D.  Schubart  59 

Five  Vowels,  The Dean  Swift 18 

Flag  of  Our  Nation Charles  Welsh J.  M.  McLaughlin  27 

Flag  of  Our  Native  Land    ....     Nathan  Haskell  Dole /.  M.  McLaughlin  105 

Flower  Dances Mrs.  Anderson 99 

Flower  Seed,  The W.  W.Gilchrist  ill 

Flower  Thoughts Christina  Rossetti Jane  Morris  92 

Football  Game,  The Rose  Miles English  Folk  Tune  64 

Fountain,  The James  Russell  Lowell J.  M.  McLaughlin  53 

123 


124  INDEX  TO  SONGS 


COMPOSER 


Friends Abbie  Farwell  Brown Henry  K.  Hadley  48 

Funny  Story,  A W,  M.  Thackeray M.  White  1 1 

George  Washington Edna  Kingsley  "Wallace Laura  Ells  27 

Girl's  Wish,  A Kathleen  Kirchhoffer James  Stanley  5 

Golden  Rod,  The Celia  Standish Karl  G laser  48 

Good-bye  to  the  Farm Robert  Louis  Stevenson Wenzel  Milller  74 

Good-bye  to  Summer William  Allingham Geo.  A.  Veazie  57 

Good  Morning,  Merry  Sunshine  .     .     Anonymous Margaret  Ruthven  Lang  78 

Good  Night Lord  Houghton 56 

Good  Night Rose  Miles Mendelssohn  83 

Hail,  Columbia! Joseph  Hopkinson Fyles  114 

Hail,  Fairest  Land ! M.  A.  L.  Lane .     .     .     S.  Hoffer  1 2 

Harvest  Song A.  Vial  de  Sabligny French  Folk  Song  77 

Heigho!  Daisies  and  Buttercups      ,     Jean  Ingelow J.  M.  McLatcghlin  101 

How  the  Winds  Blow T.  E.  Morrell  39 

Hurrah!  Hurrah!       J.  Frise J.  Frise  109 

Icicle  Lesson,  The •  .     "  Little  Folks " W.  E.  Appleton  90 

If  Animals  Could  Talk Abbie  Farwell  Brown       10 

I  Love  the  Cheerful  Summer  Time 1 1 1 

In  a  Boat M.  L.  Baum Carl  Reinecke  103 

Indian  Baby,  The 93 

In  Shadowtown Frank  Dempster  Sherman    .     .     .   J.  M.  McLaughlin  56 

I  've  a  Message Mary  Bailey W.  IV.  Gilchrist  97 

Jack  Frost Gabriel  Setoun Clayton  Johns  25 

King  Bell Frank  Dempster  Sherman     .      Old  English  Folk  Tune  60 

Leaves  at  Play        Frank  Dempster  Sherman M.  White  i 

Light  and  Shadow John  B.  Tabb James  Stanley  1 7 

Little  Bo-Peep - J.  W.  Elliott  40 

Little  Dustman,  The Arr.  by  Brahms  62 

Looking  for  the  Fairies        ....     Anonymous F.  F.  Rucey  3 

Lullaby I  J.t;:„^Te™a„  •.•.::::::  V-'^^"-'"^  -^ 

Lullaby Thomas  Dekker English  Folk  Tune  24 

Lullaby  to  an  Infant  Chief       ...     Sir  Walter  Scott Clayton  Johns  63 

March,  The  Passing  Soldiers  .     .     .     Abbie  Farw^ell  Brown C.  E.  Connezv  75 


10 


May  Flower,  The Celia  Standish C.  S.  Conant 

Merry  Skaters,  The Mary  Vaughan German  Folk  Ttme  jv. 

Merry  Winds,  The 93 

Moon's  Reply,  The     .     .     .     .     .     .     M.  A.  L.  Lane W.  W.  Gilchrist  84 

Morning Louise  Stickney F.  Silcher  99 

Morning  Glories Abbie  Farwell  Brown  ....     Heiiry  Holden  Htiss  45 

Morning  Song Margaret  Ruthven  Lang  43 

My  Kite Mary  Vaughan Isidora  Martinez  35 

My  Mother Mary  Stanhope Dr.  J.  Mainzer  68 

My  Native  Country Wordsworth Dr.  J.  Mainzer  85 

My  Shadow Robert  Louis  Stevenson  ....      Jessie  L.  Gaynor  82 

My  Valentine Alice  E.  Allen Isidora  Martinez  80 

Never  Say  Fail 37 

New  Year's  Days,  The Celia  Standish C.  S.  Conant  18 

Nobody  Man,  The Winthrop  Packard  ....      Frederic  Field  Bullard  66 


INDEX  TO  SONGS  125 


Old  Clock,  The Nathan  Haskell  Dole K.  La?7ibert  19 

Old  Glory Nixon  Waterman A.  Binzer  76 

O  Moon  in  the  Night Jean  Ingelow T.  E.  Morrell  44 

On  the  Train Celia  Standish J-  P-  Reichardt  52 

O  Tiny  Boat Katherine  Ruth  Heyman         Katherine  Ruth  Hey77ian  52 

Our  Country's  Heroes German  Folk  Time  34 

Over  the  Sea Celia  Standish Schumann  81 

Owl,  The       German Mrs.  H.  H.  A.  Beach  73  ■ 

Passing  Soldiers,  The  (March)      .     .     Abbie  Farwell  Brown C.  E.  Connexu  75 

Pretty  Pigeon Andrea-Elmia Frederic  Field  Bullard  36 

Pussy  Willow Rose  Miles Carl  Reinecke  32 

Pussy  Willow Elizabeth  Foulke Isidora  Martinez  87 

Rain Mary  Stanhope M.James  91 

Rain Abbie  Farwell  Brown N,  S.  Chase  37 

Rain  Harp,  The Frank  Dempster  Sherman    .     .     Henry  I/olden  Huss  67 

Reasoning  Together 40 

Robin's  Journey,  The Celia  Standish W.  W.  Gilchrist  88 

Santa  Claus Celia  Standish 13 

Skating Ptcrcell  93 

Sleeping  Snowdrops Celia  Standish C.  S.  Conant  15 

Slumber  Song Caris  Brook W.  W.  Gilchrist  107 

Snow Henry  K.  Hadley  15 

Snowball  Battle,  A Celia  Standish S.  C.  Cooke  20 

Sometime Agnes  Lee James  Stajiley  20 

Song-Bird's  Farewell,  The        .     .     .     H.  Von  Fallersleben /.  Gersbach  71 

Song  of  the  Bells 91 

Song  of  the  Top A.  S.  Blake  29 

Spider  Tailor,  The R.  S.  Church  15 

Spring  is  Coming English 31 

Squirrel,  The "  Well  Spring " 7 

Stars Anonymous Jiilitis  Andre  39 

Stars Nathan  Haskell  Dole W.  W.  Gilchrist  19 

Star-Spangled  Banner,  The      .     .     .     Francis  Scott  Key Samuel  Artzold  112 

Star,  The Anonymous German  Folk  Tune  42 

Story,  A Frank  Dempster  Sherman    ....      Geo.  A.  Veazie  14 

Summer  Clouds Nathan  Haskell  Dole C.  Eppstein  44 

Suppose Anonymous J-  B.  Wekerlin  9 

Swallows W.  E.  Appletoji  2 

Swing,  The Robert  Louis  Stevenson M.  White  45 

Telephone,  The Abbie  Farwell  Brown        .     .      Frederic  Field  Bullard  38 

Tell  Me,  Pretty  River Samuel  G.  Goodrich N.  S.  Chase  3 

Thanksgiving  Song Lydia  Maria  Child Geo.  A.  Veazie  61 

Thanksgiving  Song Mary  Vaughan Mrs.  H.  H.  A.  Beach  8 

Toy  Balloon,  The Agnes  Lee Frederic  Field  Bullard  9 

Try,  Try  Again Geo.  A.  Veazie  26 

Twinkle,  Twinkle,  Little  Star       .     .     Jane  Taylor Geo.  A.  Veazie  21 

Under  their  Blanket  of  Snow       .     .     Gertrude  E.  Heath       ....       Catherine  C.  Myers  84 

Valentine's  Day Edna  Kingsley  Wallace    .       Katherine  Ruth  Heyman  22 

Village  Green,  The     .     .    •.     .     .     .     Jane  Taylor German  Folk  Tune  i 

Violet,  The Jane  Taylor R.  Mellesh  35 

Voice  of  Spring,  The Anonymous Frank  G.  Cauffman  87 


126  INDEX  TO  SONGS 


COMPOSER 


Wanderer,  The Old  English C.  E.  Connew  24 

Washington's  Birthday "  The  Youth's  Companion  "       Frederic  Field  Bullard  81 

Welcome  May T.  D.  Miller H.  L.  Bemis  42 

When  the  Day  is  Nearly  Done    .     .     Gabriel  Setoun F.  Remseii  40 

White  Bits  of  Down Mary  Vaughan Russian  Folk  Tune  61 

Why? Mrs.  H.  H.  A.  Beach  29 

Wmd,  The Robert  Louis  Stevenson  .     .      Frederic  Field  Bullard  51 

Wind,  The Caroline  A.  Mason       ......      Geo.  A.  Veazie  10 

Winds,  The M.  L.  Baum M.James  92 

Wind's  Song,  The M.  A.  L.  Lane F.  Kii.cke7t  79 

xKT-y  ■  (  Frank  Dempster  Sherman    .     -     .  \     r      ■    t    r- 

^^''"^g i  Celia  Standish \  Jessre  L.  Gaynor  72 

Work  Away Martha  Thompsoii  62 

World's  Music,  The Gabriel  Setoun Frank  G.  Cauffman  32 


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M193171 


THE  UNIVERSITY  OF  CALIFORNIA  UBRARY 


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